Appendix IV: Of Phonosemantics and Fuzzy Categorization

The Reconstruction of the Archaic Phonosemantic System needs three components: The Phonosemantic Rhizomes themselves and a System to combine them, and a pattern / typos (G. Bruno: The Sigillum) to follow. The task is similar, but much more complicated than the re-forging of the magic sword Balmung out of its broken pieces.[1] First, we need the pieces: The Sem{e/aio}phonic Rhizomes of the Archaic Languages. Then we need the system, which follows in the next chapter. The typos is the Theogony of Hesiodos, and his Works and Days, which is found at Northwestern University. Many thanks to them. So we have the components together, and now we need to go to work. In a different frame of mind, we find here the fabulous Akasha Chronicles,[2] which are somehow embedded in this Archaic Phonosemantic System. This system has to be implemented in the mind (and with special emphasis, not in the brain). Because it resides somewhere entirely outside of the brain. One has to learn how to think in these Sem{e/aio}phonic Rhizomes, in order to make the system work. This means nothing less than to re-program one's own Thinking System. This is no mean task.

Phonosemantics: The Semantic Fields, and Sem{e/aio}phonic Rhizomes

The Following is an introduction for using a Fuzzy Set Phonetics model, the Sem{e/aio}phonic Rhizome- and Tension Fields, of the Archaic Greek language which are called in German as Semantische Spannungsfelder, or Semantische Rhizome. I apologize that I am mixing English with German all the time. I have no time to translate it all. This Chapter is intended for special use by people who are versed in the Deep Stuctures of Languages. In this case it is inevitable to know at least 2 or 3 European Languages. It also helps when one knows some Basque, Finnish,[3] or Hungarian / Mongolioan, [4] because these languages are the most archaic on the Eurasian Continent. The ancient Archaic Semephonic Rhizomes of the Indo-Germanic language group are best preserved in the ancient Nordic languages and Archaic Greek, ancient Persian, and ancient Vedic. The romanized Englisch and French languages are less suited for these Semantic Rhizomes because of the great intermixing between their archaic languages and Latin.[5] / [6] / [7]

A Hypothetical Sem{e/aio}phonic Rhizome Network of Aoide Vocabulary

 The Greek Root / The Rhizome Sound fields

The Science of Linguistics has done much work to discover the drifting patterns of sound and meaning, the Rhizome Sound fields, of languages in the centuries and millennia of their development. But they didn't Get It All. The hypothesis stated above was that the Archaic Greek Aoidoi had a greater role in the formation of these drifting patterns than is generally assumed. It may even be suggested that the language used by the Aoidoi was not the common vernacular of the man in the street and in the fields.[8] In the Archaic Greek language of the Aoidoi, there is a considerable overlap between meaning and sound fields. The meaning or Semantic Structures of Archaic Greek words are visible when we look at their Root- Rhizome- Sound- Relations. These related sound fields are:

 

1) gutturals:       chi, gamma, xi, kappa, rho, aspirated 'h'

2) labials:          pi, beta, phi, psi

3) dentals:         tau, theta, delta, zeta, sigma

 

The phonetic formation patterns of Archaic Greek Root words can be roughly compared to the Semitic Formation Pattern: a Common Root Frame of consonants filled in with vowels. These vowels will combine in the most unusual combinations. For example, -io and -oi, -ea and -ae can at will and anytime be interchanged, and the flexion of verbs will display these surpris­ing morphic patterns.

 

Historically, most modern European languages are structured with extensive loans from Latin and Greek. In the modern languages, there is very little concordance between sound and meaning. This is certainly due to the influence of the Alphabet, which broke and hid the original archaic phonetic/semantic connections. Conjectures have been made that there was an original archaic indo-aryan language from which Greek, Awesta Persian and vedic Sanskrit derives. In this language, there would be a better coupling of sound and meaning (semantics). Knowing the extension and drift factors of sound fields enables the researcher to find related words whose connections are obscured by alphabetically organized dictionaries. The following structure has been made through partially recovering those sound fields, or the Sem{e/aio}phonic Rhizomes. Of course, listing them sequentially is not the best solution, but for the present form of lin­ear text presentation, it must suffice, until we can get around actually constructing it in a suitable technical system.

 Alpha a Aleph

The field of aio AIW aiw

The Alpha a is the origin of almoust all archaic mythologies, together with the Semitic Aleph, where it symbolizes the bull. Closely related to the root sound of aoidos is the verb aio. It has a very interesting saemeiophonic structure. It is built of vowels only. Since Greek did not have a special notation for "u" where "y" stands in for it, we have actually all the vowels wrapped up in one word. This is highly significant. The closest pan-indogermanic connection to this kind of sound structure is the Sanskrit Mantra aoum. The next interesting aspect of aio is its omnidimensional meaning: It simultaneously means: to hear, to perceive, to sense, to see, to understand, to know. Then it also has the meaning of the aspiration, the spirit (which is Aleph). We will immediately see this connection. The significance of this field cannot be grasped with our common categories of knowing. The aoidos was the knower of a different kind of knowledge. This is the archaic knowledge, the living, breathing, aspirating pneuma of the logos, of which Plato talks in Phaidros (276a). This is something quite different from the Roman inspired Ratio, which means the Logic Intellect. See also the discussions in this text of Spengler's use of Vernunft  [Nous/Noos] und Verstand [Logos, Ratio].[9] See also: Heidegger: WHD, 127.

aer means air, wind, mist, fog.

aeros or eros has a connection here.

aiora aiera means suspension, hanging or floating freely in the air.

aion means eternity.

aidoia

aideomai schämen, scheuen

aidoi- / -os / a schamteile , schamglied (24) ‑> maedaea

aidae- / -s / -los privat, verborgen

aidnos unsichtbar

aithal- rauch (24)

aitho- feuer -> pyr

aithops glühend, funkelnd, flammend

The saem(ei/o)phonic Field of Aoidos AWID- awid-

Let us picture the saemaiophonic field of the words connected with the aoidos. We noted that the Aoidos is not only a poet and a bard but also a seer and prophet. Hesiodos uses the word in numerous locations in (Hesiodos 1978). We can consider his work as a path leading us back into the archaic aoide thought structure. Just by outlining the saemeiphonic connections contained in the word aoidos are we able to set a starting point for the uncovering of this archaic thought system. Since European thought has been shaped so intimately, using the words of the european mother language, Greek will serve best to introduce us back into this territory that humanity has lost 2500 years ago. See Heidegger WHD.

 

aoidae is the hymn or poetry, the myth.

audae is the sound, the voice, the call, the message.

aeido, (17) aeisomai, asomai, means: to sing, call, shout, or making any sound when struck (like metal objects).

aoidos and eidos are sound-connected, leading into the field of idea.

alaeth

alaetheia (43): Wahrheit, Wahrhaftigkeit,

alaethaes : wahrhaftig sein

alaethinos

amph

amph- beidseitig

amphora -> pherei

ana

ana- : darauf, daran, auf, hinauf, über, hin durch, entlang, währen (zeitlich), hindurch.

apo ...

apo: ab- weg- (nehmen)

apo-kalypto aufdecken, enthüllen, entblößen

-> kalyptron, kalyptras, See Parmenides proimion.

apo-kalypsis

apo-kalypsis -> Enthüllung, Offenbarung

 

kalymma, kalypto

Bedeckung, decke hülle, verhüllung, fruchthülse, schale einer muschel oder schnecke

kalyx: blumenkelch

kalyptaer: Hülle, Decke, Deckel Schachtel

 

aporos (aporie) unwegsam, unpassierbar, schwierig, unmöglich, schlimm, heillos; Pers. hilflos, ratlos, unfähig, mittellos, arm

-> poros Durchgang, Überfahrt, Furt, Passage, Straße, Weg, Hilfsmittel, Einkünfte, Erwerbung

Anankae

Zwang, Notwendigkeit, Naturgesetz, innerer Drang, Trieb, Bestimmung, Schicksal

Demonstration, Beweis,

 The Sem{e/aio}phonic circle of Chi-Gamma-Xi-Kappa-Rho-Chi

A short overlook of the Sem{e/aio}phonic gyros, or kyklos (both denoting the circle) of Chi-Gamma-Xi-Kappa-Rho is given in the following chapter.[10] The center is formed by the aspirated "h" which has no own character in Greek, for which stands the semitic sign Aleph. This aspirated sound of Aleph has special significance in cabbalistic interpretations as it is the source and origin of everything else (Suarès 1976). The diagrams show the architectonic extensions of this scheme, including the sound fields of beta, phi, psi, pi and delta, theta, tau, zeta, and sigma.

The Chi Root - The Crossing C c

The Greek root sounds gamma, chi, kappa, xi, rho, are closely related which does not show in the dictionary because the word ordering sequence has spaced them far apart. All words containing these sounds will be candidates for inspection. At the time when Greeks learned writing, the letter chi was connected with cross­ings,[11] chiasmos and chiasma denote cross patterns as grammata, gra­phae, or glyphae, like cross-marks in clay or as wooden sticks laid cross-wise (like nordic runes, German Buch­staben - Buch-stäbchen). The cross-mark also denotes something recognized as false or suspicious. It should therefore be noted with special attention that the characteristic religious symbols of our European Culture are the cross and the christos (the anointed, the messias, the crucified). We just have to exchange the sound patterns of christos with chiastos and we are back at an original crossing obscured by the Christian Mytho- Theo-logical overburden. The cross or chiasmos is the character or the sign of the chiastos, in its most technical sense. Of course the important question to ask is: what has been crossed with what and why was this original crossing obscured? We may look for more material on this in the greek creation mythology of Hesiodos.

The Chi Extends in Semantic Space

chae is, if we allow us the freedom to interpret Hesiodos, the first incarnation and the invisible, unconscious, and subsurface (or chthonic) name and aspect of the Mother Earth (gaia being her surface aspect, see the gamma entries). Persephone is the other name of this aspect. In the myth, she is the daughter of De meter, go­ing to Hades (chades) every winter and re-emerging every spring in the month of gamelion.

 

chthon is everything connected to chae. In Hesiod's account of The Beginning, we can see the drift from chaos to chaea to ara-chae to chthon. (Hesiodos 1978) This is mirrored by the meaning of cave, cavis, cueva, all descendants of the original root sound, also the female womb, hysteron-chysteron, (c/k/z)ystis.

 

chiazo has a connotation in the musical realm, using an unusual (suspicious) sound or harmony pattern. Here we see the crossover or crossing of harmonies shine up as chi.

 

chilia denotes a thousand-fold, like a millennium or a thousand men. The chiliastai are the believers in the chiliasmos, the millennium-long reign of the christos­/chiastos. We have a correspondance in the roman numeral X, the greek chi, which means not thousand but ten.[12]

 

cheramos is a more specific word for caves, crevices, holes, hiding places.

 

cheir- means: hand. Its semantic field extends wide and far through ancient Greek thought.

Heidegger gives an extensive discussion of the Greek / German semantic rhizome connecting Hand and Hand-Werk: (WHD, 49-55).

 

Wir nannten das Denken das ausgezeichnete Handwerk.

Das Denken leitet und trägt jede Gebärde der Hand. Tragen heisst wörtlich: gebärden.

Heidegger (WHD, 53)

 

chrae- requiring, in need of, dt.: brauchen, is also connected to cheir, likewise: chrao, chraesthai, chraomai.

See Heidegger (WHD, 114-115, 118-119).

 

echein / schae- / chero- / chreo- / chres- / chresto- also belong to this semantic field.

The German words Handel, Händler, preserve the connection between cheir- and chres- .

chero has the meaning of robbed, deprived, widowed. Let us re­call the more delicate parts of Hesiod's account of The Beginning (Hesiod 1978) when chronos or kronos (the time god or Sat­urn) privated or deprived the sky god ouranos of his private parts by means of a scythe or har­pae (chero - charpae - sharp - scharf), thereby separat­ing the chaea or gaia from her consort oura­nos, and depriving her of her lover and making her a widow. (See also: Dechend 1993, p. 120-124.) The de-privated private parts of Ouranos fell into the sea, the Okeanos, there be­coming transformed into froth, and in the course of events fathering the love goddess Aphrodite (aphros=froth), born of the froth, rising from a sea shell or cheramis. We can assume a sound connection between chero and cheronos.

 

chloro- means everything green, i.e. the children of mother earth, the plants.

 

choanon is the hollow form into which molten metal is poured. The sound pattern is the reversal of chao - choa. See the connection to texis.

 

chnon or choinike is the wheel hub. We find this in Parmenides' text: (Parmenides 69, Parmenides 74, B1, 6). The wheel hub is that which does not move while everything around it moves. This has found ample metaphorical use in the Tao Te King and Buddhist teaching about the wheel of rebirths. (See also: Laotse). Further meanings are: axis, center of astronomical rota­tions, like the earth axis.[13] (See also: Dechend 1993, p. 125-126.)

 

We would make the conjecture that the proimion (opening passage) of Parmenides' work which is framed by the words "hippois" at the beginning and "hippous" at the end has a special meaning. (Parmenides 74, B1, 1,21) Parmenides was not just trying to add some dramaturgic spice to his lecture about "to gar auto noein estin te kai einai" (to know is to be). The connection of whistling wheel hubs and red-hot axles may as well point into a cosmological dimension that we are no more aware of:

 

axin d'en chnoiesin hiei syringos auten aithomenos doiois gar epeigeto dinotoisin kyklois ampho­terothen...

(Parmenides 74, B1, 6-8)

 

chro- has all the connotations of time. The god Chronos or Kronos reigns this semantic sub-field. A connection with gaia or chea is through the word ches or chizo which denotes everything belonging to the past. Appropriately, chrono- belongs to the present moment and extends into the future. chronologia is the connection of logos, i.e. measuring and time.

 

chry- is connected to gold, like Gold the Metal. Gold is the material preferably used by Hephaistos, the divine smith and craftsman (tekton). Gold is in all cultures invariably connected to the divine, the heavenly realm. We have a connection to the golden age of which the ancients spoke so often. We might call this age golden because it was under the reign of oura­nos, before time had set in, i.e. before Kronos (the time god) had separated chaea and ouranos or heaven and earth. In that age, they were still united and heaven reigned on earth. The sound pattern switching from chry (gold) to chro (time, Kronos) should amply indicate a fundamental shift from the better to the words (actually we wanted to write worse, but as it came out, words fits equally well).

 

chre- is connected to the earthenly realm of money, commerce, the realm of the god Hermes (chermes). In a further related mean­ing, we come to title, name, and character. chre- and chry- converge (or better: cross over) in the word christos.

 

chreo- is connected to lack of money, need, necessity.[14]

 

chresme- chreste- is the semantic field of oracles. chresterion is the sacrificed animal (again a connection to christos where we have a sacrificed lamb).

 

chrestes is a money-lender. Remark the opposition of chrestes vs. christos as recounted in the New Testament, where he drives out the merchants from the Temple in Jerusalem.

 

chresto- denotes the word field of everything useful, obiedient, honest, sincere, benign, compassionate, meek. For example as a good christian citi­zen.

 

chrima and chrisma means the semantic field of: 1) honorable: ointment, perfume, 2) practical: whitewashing, painting (as in house painting, not picture), and 3) demeaning: smear, grease, cheat. From this we fall into the semantic root of the Christian Religion:

 

christos the anointed, painted, greased, or cheated.[15] Pick the meaning of your choice. There is a strange correspondence between the cherished Christian Mythology and the impression we get from the sound field: Christianity always talked about and wished for the recurrence of the Golden Age of humanity, the aion chryseon, with the Christos the pantokrator, as the reigning god of the age. What we see actually happening though, is something falling a little short of this noble aim: Our age is the age of the chrestes: money reigns the world. There are some Onoma-Semaiophonic links of chrae in other languages:

english: grease

french: gras (-se)

Before It All Began: The Chaos CAW caw

Not without good reason does Hesiodos tell us that before The Be­ginning (the ar-chae), there was something quite useless to try to even name. Therefore he called it the chaos, the unfathomable cave, the gaping, the yawning, the emptiness, the void, or in the words of Anaximandros: the apeiron. See also: Bolz (1992), Bolz (1994), Diels (1954), Hesiodos (1978), Sturm (1996, 452-521). Our Brave New Age of Chaos: Also with good reason, our present age is the age of re-emergence of the chaos, as is amply evidenced by the rise of Chaos Theory, and the general chaos pervading all the personal, political, ethical, and noetic domains of human life.

 

The sound pattern is: Chi, Alpha and Omega. This may lead us in a deep abyss indeed. Because chaos may not be a word defined by a meaning (which is nothing) but an anagram of the chiasmos or crossing of Alpha and Omega. And the word ar-chae can be parsed as the ara-chae, that is what follows the chae. ara means everything following in temporal or logical sequence[16]. The drift from chae to chao is described below. We can further list the words: chasko, chasmos, charybdis, charon, the ferry- (pherein-) boat man to hades or chades. We see the intense mythological connection with sound fields.

 

The meaning of "Alpha and Omega" is overlaid by christian interpretations / superstitions but below these, more material is hidden. We can see the connection to the buddhist use of shunyata (Sturm 1996, 452-521). We may also be able to establish a connection to the symbolical machines mentioned above: We have here a word that is not arbitrarily connected to meaning, rather it is a kind of mental computer program to calculate and find meaning in.

Chi and the Archaic Greek Thought Universe

In the root sound chiasmos of chi, gamma, xi, rho, and kappa we can find a rich semantic crossover. Following this line, we can unravel the connectivity of the Greek thought universe in a concise architectonic model. The works of the greek philosophers would make a different sense if a semantic con­nectivity system like this were used. This can be made com­monly accessible with hypermedia structures. Philosophy would take an entirely different turn if tools like that were commonly available.[17]

The Semantic Field of Gamma G g

The semantic field of gamma is reigned by the second incarnation of the Mother Earth goddess gaia, ge, or gea (or chaea in her subconscious chthonic or Persephone aspect). Gaia is also called Demeter for "de meter" or mater, mother, mère, Mutter as her name derivations are in the Euro­pean languages.

 

ge-, geo- is everything connected to agriculture and land.

 

gala is the milk (the mother gives), also the galaxis or milky way. (See also: DECHEND 1993)

 

gamos is the semantic field of marriage and sexual reproduc­tion. Hieros gamos is the annual celebration of the ce­lestial marriage of the mother goddess gaia with her seasonal consort. In Roman Myth, the residing god is Janus.

 

gamelion was the greek month reserved for marriage, between january and february. This was in Greece the time of pre-spring, i.e. when Persephone, the chthonic aspect of Gaia re-emerged to the surface.

 

gaster is everything connected to nutrition, digestion, like in gastronomy, that is the nutritive aspects of gaia.

 

gaulos is a vessel to contain the gala, the milk. Connected to storage and transportation of goods. In one special meaning a Phoenician Trade Ship.

 

geito- means everything in the neighborhood.

 

gena- and gina- gono- is connected to family, descendance, birth, birthday, life-span, generation, genealogy, genitals, genetics. kine- and kinai- are the relations in the kappa field.

 

gyno- is everything connected to women.

 

gera- and gero- means everything connected to old age.

 

The ge-gantes or gigantes are the ab-orignal (ar-chaic) sons of mother earth ge or chea.

 

glypho- connects us to the semantic field of graphe and gramma. The process is al­ways the same: inscribing or furrowing marks or patterns or forms or morphae into some mother substance or hyle or xyle or ghyle or adamah.

 

gloss- is everything connected to the tongue and the spoken word.

 

gnos- and gnom- are related to nous and noos, also to genos via genoma to gnoma, meaning sign, symbol, mark. To know.

 

The field of gnos-, gnosis is reigned by Sophia the mother goddes of knowing.

 

graphe or gramma derived from the proc­ess of inscribing or furrowing. Grammar, science, learning, documentation.

 

grammata are the written characters of the Alphabeta. See the correspondence with stoichea. Plato talks in Phaidros of the grammata as the shadow pictures of the living, animated logos.

 

griphe is a riddle, related to gryph- and kryph- (krypto).

 

gorgo is the horrible aspect of ge. In the hindu pantheon this is Kali. gorgyre is a subterranean prison.

 

 The Goni- Gynae- Connection

goni- is everything connected to angles. The connection to gyne- will be visible to everyone who knows the old sumerian ideogram for woman. It is probably the Ur-Symbol of writing, because the furrowing of the earth when plowing, and the traces written into clay in the Cuneiform Writing systems of ancient Mesopotamia  are metaphorically identical. This is why Mohammed says in the Koran, that "women are your fertile field, plow them well". I have written a long exegesis on the subject: The fertile Furrowings of Cunneiform Writing:[18] Because all the European translators of Ancient Greek works in the 1800's and 1900's were furious Bowdlerizers,[19] they obliterated all possible sexual connotations and connections in these works as good as they could. Thus they obliterated some of the most important Mater / material. This is of course due to the abrahamitic obsessive-compulsive Syndrome against anything pertaining to sex.

 

 

 

The Ur-Symbol of Cun(n)eiform Writing

Unfortunately this symbol is not available as Symbol character under Windows.

Perhaps out of political correctness?

 

The gamma semantic field is completed, with gyros, the circle. We will see the con­nection of gyros and kyklos.

The Semantic Field of Xyle or Hyle XUL xul

Hylae und Xylae are semephonically interchangeable. hyle (wood, building material, the famous term used by Aristoteles in his philosopical meaning) is sound-related to xyle, which also gives rise to a whole collection of words all dealing with wood and woodworking. From there we come to our word stylus.

 

The connection goes on: xiphi- and xiphe- denotes everything connected with steel as in sword, dagger, but also steel tools. xois is a wood carving knife. xyale also de­notes a carving knife. Here is also the connection to the writing tool stylus.

 

The root xes- concerns words that deal with polishing, roughing, scratching, engraving, and all sorts of surface finishing. Here we come in close semantic proximity to the already known root of graphe- and gramma.

 

xoanon means a woodwork wood carving, also an idol.

 

xyro- is the root for everything connected with cutting hair. Interestingly enough, the well known expression of the sword suspended from a horse's hair finds its etymological roots here: "epi xyrou histatai akmes". "It all depends on one hair", "by hair's breadth". Everyone who already has experienced a close shave will find some meaning there.

The Semantic Field of Kappa K k

This semantic field of kappa is extremely varied and it is not really possible to ade­quately display the twisted webwork of its many intertwined semantic threads in any other than graphic display. There are many connections with the chi and gamma sound fields as is to be expected.

 

There is a whole field of roots that spell different but have similar meanings of hollow­ness, roundness, and emptiness. This gives a strong semantic connection to the chaos and chthon sound field. kaetos derives from chaetos-chthon and means a large monster in the sea, like Leviathan.

 

keno- keneon ( -> chnon, -> choanon), are roots connected with emptiness. kados, kaddichos (hollow measure), kaiadas (gaping hole in the earth).

 

kong{e/os} a hollowness and roundness, hollow shield, sea shell, like cheramis used for ladling water. Modern language derivations are conch and concha. koilos is likewise a hollowness, a cave, or a bay, likewise kotyle.

 

korone and koronis are connected to crown, ring, corona, German: Kranz.

 

kosmos means not only the cosmos, but also order, arrangement, decoration, embel­lishment, laud(atio).

 

The sound field of ky- contains a whole collection of relations. The reigning root might be kyklos, cycle or circle. It has many connotations, like wheel, cyclic movement, yearly seasons, the celestial vault or globe. kyllos is everything bent, round. kylin­dros is the cylinder. kyle is a cup, bowl, beaker. In German, there are the words Kuhle and Kelle bearing a sound relation.

 

kytos (<-> kotys), kyttaros, kyphella have a strong connection to keno, hollowness, emptyness.

 

The root kym- is equally rich. Here we find many words related to waves. kymbaton is a wave, kymaino means making waves. kymbe, kymbalon is a cymbal, i.e. a (hollow) metal bowl that makes sound waves. kymbos is equally a hollowness or a bowl. Hollowness and roundness semantically connect the kyklos to the kymbo-, i.e. waveness.

 

kyo- means pregnant, mentioned in Hesiod's theogony (Hesiodos 1978). Here we connect back to chaia and gaia. kytokia is birth.

 

koima means sleep, sleeping together, (in the Ancient Vedic Indian language: kama), karos (deep sleep, ~ of death) and koma (sleep of death).

 

koi- (switched io-sound from kyo) means everything connected to the nuptial bed. koitos is the root of koitus, and not, as is falsely assumed, from the Latin co-ire.

 

kinai means lust, i.e. the agitated movements at the occasion of the koitos, which leads us into the next field of kine.

 

kine- is connected to everything moving. In Aristotelian and Scholastic philosophy, the kinesis is the distinction of life. In Timaios 52d to 53b, Plato talks about the kinetic device to mix and separate everything in the creation of the kosmos.

 

kinion is a spindle, leading to kloste (thread), klosma (web, thread), and finally klot­ho, the Moira, or the Norne, the Godess of Fate who spins the thread of life. And Atropos cuts this thread, and the Person dies.

 

kadmos is the sound connection to adam and kedem.

Lambda

laethae -> thanatos -> lysis

lysimelaes gliederlösend (Hesiodos, 121), glied-erlösend

My
mae

mae : verneinend -> meontik

maedo-: Beschluß, Ersinnen,

maedos: Sorge, Klugheit, Verschlagenheit

männliche Geschlechtsteile, Penis -> maedea

maelon: Apfel, Birne, Baumfrucht, Quitte

mealouchos / maelon echoo : Brusthalter

maelo-: schafe... (82)

maen- / maeni- / -os : monat-

maenithmos : zorn, groll (maeni thymos?) (83)

maenis (homer) / maenit / maenio zorn, groll

meta / metr

meta zwischen, unter, mit, durch, vermittels

meta-noia (Matth. 4, 17) Zollitsch, Verhaltensbiologische Essays, p. 69, 70

meta-noeite: denkt um, seine Meinung ändern, (spätere) Einsicht, Reue

nach massgabe , unter uebereinstimmung mit den gesetzen

der Zeit nach , hinterher (II, 68)

metro (II, 78) messen, zaehlen, schaetzen, beurtailen ‑> timao

maetis , maetiaoo

maestor (II, 83) -> ratgeber

maetietaes ‑> maetiomai

maetis ‑> klugheit, einsicht, geschicklichkeit, rat, vorsicht, überlegung

maeryomai ‑> Wolle zupfen, auflockern, einweben

maetis: sinn

maetiaoo im Sinne haben, beratschlagen

maetiomai ersinnen erdenken, bewerkstelligen, anstiften

maetis Klugheit, Einsicht, Ratschlag, Vorsicht, Überlegung

maetaer

maetaer (83) mutter

maeterios mütterlich

maetra (84) mutter, gebärmutter

maetr- ... maetro-

maechan

maechanaoo - künstlich, ersinnen bereiten, aussinnen, heimlich, tückisch (84)

maechanae Instrument, Maschine, Hilfsmittel, Mittel, Erfindung, Kunst, Kunstgriff, List, Kniff

maechan / -ikos / -oeis

maechos (85) Hilfsmittel (maechanae)

-> technae

mimnaeskoo / mnaesoo (87) erinnern mahnen gedenken, nicht vergessen

mis- hassend, gegen etw. sein

Melos

Melos: Melody, Song, Harmony, Member

{G}lied, Lied, Singweise, Melodie, Harmonie

melpo, melpomai / melpsomai, singen

melphd- melphdaema Gesang

maedaea: Geschlechts-Glied

mnao

(90-91)

mnaomai / mnoomai, mimneskomai: to remember, remind, reminiscence, sich erinnern, ge-denken

mnaema: Memorial, Ankenken, Denkmal Denkstein,

mnaemae: Memory, Remembrance, Gedächtnis, Erinnerung, Erwähnung

mnaemo- =

mnaemosynae: Mother of the Muses, die Gedächtnis (Heidegger, WHD)

mnaemon

monopol-: monopoly, alleinhandel 96

mousa: deity of song and music, Göttin des Gesangs, der Musik 99

 

endo- / eso- morphology and exo- omorphology

O

olisbos: dildo

onoma- : name, denomination, appellation, designation,word, expression.

onta, einai - being things.

With the "to ti aen einai" the thingness of things starts to appear in Aristoteles.

Plato uses this term sparingly (385b) and he does not seem to differentiate very

Pi

Para-men-ithys (aka Parmenides) can be read as: "straight beyond the mind".

pragma - things done, business, negotiation.

This term is used by Kratylos. There is very slight variance to chraema, but it might be significant. The saemei-phonic field of pragma is a little more oriented towards process, dealings, and doings.

The word praxis belongs to this field.

Plato uses this term in the majority of places that are translated as "thing".

 

panourgia

Verschlagenheit -> Odysseus -> oudeis, poly-tropos

verschlagen werden apoplanastei

plangchthae Odyssee 1,2

 

peira

Peira bedeutet Versuch, gemachte Probe, Erfahrung (haben), aus Erfahrung wissen / belehrt sein.

 

peira, peirazo (Verführer), Zollitsch, Verhaltensbiologische Essays, p. 69, 70

 

peirasis: Versuchung

peirastaes: Versucher, Verführer -> erastaes: Liebhaber

peirastikos: zum Versuchen / Probieren gehörig. -> en-peiria / em-peiria

peirat

peirar / peiras: peiratos. Ende, Grenze , der höchste Grad, das Ziel, Vollendung

pera: Ort - darüber hinaus, Zeit: länger

pera: grenze

peran: jenseits

peras: das Ende, das äußerste, Vollendung, Vollbringung, Vollziehung

perasis: Durchgehen, Darübergehen, Übersetzen

peratos: jenseitig

peratosis: Begrenzung, Endigung

peri- : rings herum (Lieblingstitel bei Aristoteles)

                                poiae- and pathe-

The etymological connotations of the word information and its uses indicate the active-principle-centric thought system of western cultures. (As exemplified by the Genesis creation mythology, as well as greek accounts: Plato, Timaios). These mythologies are always given from the vantage point of an active agent doing some kind of in-formation with some essentially passive matrix substance.[20] This cultural complex is common to all abrahamitic Judaic, Christian, and Islamic, as well as many other widespread thought systems, but it is not the only one possible. The polarization between active and passive principles is best exemplified by its greek roots: poiae- and pathe-, Pathos. [21]

 

The rhizome poie- indicates anything relating to actively doing, creating, bringing forth, and extends into the latin rhizome pote- with all its european-language descendants: potestas, potency, potential, despotic etc., as well as the rhizome pater, father, Vater, patre, patria, papa, Pope, pitar (Sanskr.). Maturana makes direct use of this concept with his principle of autopoiaesis.

poiaesis: machen, hervorbringen, Erzeugen, Schaffen, Bilden, Bauen, Verfertigen (Handwerker, Künstler), Dichten, Dichtkunst, Poesie, Darstellung

poiaetaes: Verfertiger, Erfinder, Schöpfer, Gesetzgeber, Dichter, Schöpfer eines geistigen Werkes
                                The range and classes of the impressions and expressions of the human body

The poie- and pathe- polarity and complementarity has found a continuation in all major european languages through the latin roots of the Impression and Expression polarity. The range of impressions of the human being is roughly coincident with the senses, with some additional elements. The word im-pression is related to in-formation[22]. In semiotic terminology, for anything to be appreciated as a sign, it must be noticed, distinguished, experienced, and by any way enter into consciousness. In information technogy, this is called the input channel. Examples are: auditive, visual, kinesthetic and tactile, smell, taste.

 

Vice versa, matching the spectrum of impressions, are the expressions. If something is to serve as a cultural transmission instrument, a means of CMS, the human body must be able to produce it, and modulate it, consistently, repeatably, and the results must be consistent with the intentions. This will cover the range of expressions. In information technogy, this is called the output channel. Between the impressions and expressions is a complementary relationship, but it is entirely not symmetrical. To the contrary, its greatest cultural significance is its asymmetry.

po

porphyr- purpur

pous: Foot, Fuss, Anthropos, Oedipos (swollen Foot)

pragma: the deed, das Getane, die Tat, Unternehmung, Verhandlung, Unterhandlung, Geschäfte

ph

phero / phora tragen forttragen, fortreißen

tragen, leiten, lenken, regieren

am-phora: amphi-phora, Gefäss mit zwei (beidseitigen: amphi-) Henkeln

pheromenos: eilends, rasch, botschaft überbringen

phren(ae)- Verstand, Geist, (Herz ?)

 phos/phaos FAW FWS fws

The saemeiphonic field of phos, phaos, photo-, phoos is reigned by phoibos the god of light: Apoll. photisma. phoibos: splendor, shining, sparkling, brilliant, luminous.

This field extends to everything seen, visualized, also luminance, and illumination:

phoibasma, phoibetes: prophet, oracle, mantics. phoinos: purple, phoenician, dark red (glowing).

A further connection exists to aithomenos.

phosphoros: luck, fortune, rescue.

phos and phone are strongly related. phone is connected to everything making sounds, the realm of voice, speaking, talking. We see the connection to logos.

phthongos klang

 

The next interesting observation is the polarity of Phaos and Chaos. This becomes relevant when we look at the song of the aoidos of chaea, the chaes-aoidos, or as he is better known: Hesiodos. Here we find the chaos or CAW. As we will recall, it is an often used imagery of creation myths, also the one in the bible, to describe a transition of chaos to phaos. (Let there be light). This corresponds to the phonemic switch from guttural, deep down in the throat to labial, which is at the outer ends of the lips. This phonetic change could be quite significant.

phys-

Physis, or the Natura, the Birth Giving, the womb that gives birth to all existing things of nature, and this is called physis in Greek, from phyo, phyein, for begetting, procreating, creating, growing. Then there is the field of phyto which covers everything relating to plants, then phyllo which covers all the green and growing, sap-containing leaves, and the grass. Because the universal matrix gives birth to all the existing things, we can call it the hypo-physis. She is the one that is preceding, and underlying the physis.

 

Let us no follow the word-sounds of the famous Aristotelian term of hyle (substance), which is originally wood, (and also a wide range of related terms: forest, trees, building material, matter). We could tentatively contrast the term hylae, the dead, dry wood, and the phylae, the green sprouting, sap-containing living plant, and perhaps gain some insight into the contrasting views of those approaches that treat the world as living being, and those which treat matter (mater) only as dead thing.

 The Sem{e/aio}phonic circle of Rho R r

This field is reigned by the third incarnation of chaia, gaia, and now rhea (Hesiod 1978, 135). She is the mother of Zeus, the ruler of the fourth generation of gods. The drama of Ouranos and Kronos was repeated by Zeus (Hesiod, 453-507).

 

rho is also a guttural, albeit not usually recognized as such. Its character shows in the arabic and hebrew language where ch and chr are the same sound.

 

Here we find rhema, the river, the stream. rheo / rhoo- : everything in dissolution by flowing away and apart. panta rhei, as Heraklit said. rhoae, rhoos, rhytos is again everything flowing.

 

rhoth- is connected to the sound of moving water, waves, waterfalls etc. (Rauschen, Brausen) as opposed to rhythmos, this type of sound has an equal frequency distribution (fourier spectrum) of overtone-sounds. In technical terms, this is today called white noise.

 

rhaegm- breaking waves

rhema, rhaesis and rhaeto is everything connected to rhetorics.

rhaps- pertains to the rhymes and poems.

rhombos is connected to kymbo and kyklos, latin: rot-, the modern derivation rotation.

rhyax, rhyas is the upwelling and breaking forth of forceful currents and undercurrents.

rhythmos is again connected to rhombos, kymbo and kyklos. It is the rhythmic recurrence in all cyclical processes, also the (well-formed) proportion of Pythagoras fame, leading us into harmonia.

Sigma

sapro / saeper faul (saepsis)

seautou / s'auton deiner selbst (408)

selas licht glanz

 

semn- / o / a / oma wuerde, verehrung

semnaion = geheiligter ort, tempel, tempel der Erinnyen

semno- göttern gleich, ehrwürdig

 

semelos = kochlias (II,410) -> (I,591) Schnecke mit gewundener schale / alles schneckenförmig gewundene / schraube / wendeltreppe

kochlos = auch musikinstrumente

Saema

saem- (411-412)

saema zeichen zeichen, merkmal, was sichtbar ist, schriftzeichen, malzeichen, anzeichen, vorzeichen, siegel, grenzzeichen meilenstein

= saemeion

saemaleos / saemansis / saema... / saemaia / saemasia

saemaino merklich machen, bezeichnen, ein signal geben, besiegeln, versiegeln

saemeioo / -ein / oo , zeichen geben

saemantaer zeichengeber, heerführer

saemeiootikos = zum bezeichnen, bemerken

‑> saemeio-phonae A.G.

men -> mne

Semele

Semele, Graves 27,11 p. 110, Semele was the other name for Core, or Persephone, Isis

mother of Dionysios (Osiris) 134.4

Sperma

sperma ... Same(n), seed, sperm

 Stoich{a/e}o...

In most translations of Plato's works, stoicheia and grammata are treated as synonyms: meaning letters of the alphabet. But for Plato, there is a quite marked distinction: when he talks about stoi­chea, he talks about spoken sounds, or pho­nemes, and when he says grammata, he means the written letter. The translation of Kratylos has to be treated with special care to yield any useful information of what Plato was talking about. The saemei-phonic field of stoichea is:

stichao reih und glied

stichinos / sticho verse (441)

stoiche (442)

stoicheoma: element, fundamental building block, first principle

stoicheoo: to teach the basics

stoicheomata: the 12 signs of the zodiac

stoicheon: letter of the alphabet

stoichos: the rod or stylus of a sundial that casts the shadow by which the time is

indicated on the dial

stoicheo: in Reihe stehen

It is easy to see that the term is heavy with connotations from ancient cosmology. This subject has been treated in another of Plato's dialogues: Timaios. The first meaning of stoicheoma denotes the idea of a first principle of the cosmos. The zodiacal signs can be clarified in connection with the sundial. The sundial was introduced in Greece by Anaximandros.

Liddell-Scott-Jones Lexicon of Classical Greek

stoicheion, to:

I. in a form of sun-dial, the shadow of the gnomon, the length of which in feet indicated the time of day, hotan êi dekapoun to s. when the shadow is ten feet long...

II. element,

1. a simple sound of speech, as the first component of the syllable, Plat. Crat. 424d; to rhô to s. IBID=au=Plat. Crat. 426d; grammatôn s. kai sullabas IDEM=Plat. Theaet. 202e; s. esti phônê adiairetos Aristot. Poet. 1456b22; phônês s. kai archai dokousin einai taut' ex hôn sunkeintai hai phônai prôtôn IDEM=Aristot. Met. 998a23, cf.Gal.15.6:--stoicheia therefore, strictly, were different from letters (grammata), ... s. letters which are pronounced, A.D.Adv.165.17; grammata and s. are expressly identified by D.T.630.32; the s. and its name are confused by A.D. Synt.29.1, but distd. by Hdn.Gr.ap.Choerob.in Theod.1.340, Sch.D.T. l.c.:--kata stoicheion in the order of the letters, alphabetically, AP11.15 (Ammian.); dub.sens.in Plu.2.422e.

2. in Physics, stoicheia were the components into which matter is ultimately divisible, elements, reduced to four by Empedocles, who called them rhizômata, the word stoicheia being first used (acc. to Eudem.ap.Simp.in Ph.7.13) by Pl...

3. the elements of proof, e.g. in general reasoning the prôtoi sullogismoi, Aristot. Met. 1014b1; in Geometry, the propositions whose proof is involved in the proof of other propositions, IBID=au=Aristot. Met. 998a26, au=Aristot. Met. 1014a36; title of geometrical works by Hippocrates of Chios, Leon, Theudios, and Euclid, Procl. in Euc.pp.66,67,68F.: hence applied to whatever is one, small, and capable of many uses, Aristot. Met. 1014b3; to whatever is most universal, e.g. the unit and the point, IBID=au=Aristot. Met. 1014b6=lr; the line and the circle...

4. generally, elementary or fundamental principle, arxamenoi apo tôn s. Xen. Mem. 2.1.1; s. chrêstês politeias Isoc. 2.16; to pollakis eirêmenon megiston s. Aristot. Pol. 1309b16; s. tês holês technês Nicol.Com.1.30, cf. Epicur. Ep.1p.10U., Ep.3p.59U., Phld.Rh.1.127S., Gal.6.306.

5. astrôn stoicheia the stars, Man.4.624; s. kausoumena luthêsetai 2 Ep.Pet.3.10, cf. au=2 Ep.Pet. 3.12=lr; esp. planets, stoicheiôi Dios PLond.1.130.60 (i/ii A.D.)

6. s. = arithmos, as etym. of Stoichadeus, Sch.D.T.au=PMag.Par. p.192 H.

 

Related words are:

stichao: rank and file

stichinos / sticho: verse

stoicheoma: element, fundamental building block, first principle

stoicheoo: to teach the basics

stoicheomata: the 12 signs of the zodiac

stoichos: the rod or stylus of a sundial that casts the shadow by which the time is indicated on the dial

stoicheo: to stand in rank and file

                                Plato and the stoicheia

In most translations of Plato's works, stoicheia and grammata are treated as synonyms: meaning letters of the alphabet. But for Plato, there is a quite marked distinction: when he talks about stoi­chea, he talks about spoken sounds, and when he says grammata, he means the written letter.

 

In Timaios, more meanings are given: The first meaning of stoicheoma denotes the idea of a first principle of the cosmos. The zodiacal signs can be clarified in connection with the sundial. The sundial was introduced in Greece by Anaximander. (Gadamer)

 

Plato talks in Phaidros (276a) of the gram­mata as the shadow pictures of the liv­ing, animated lo­gos. He uses a very subtle word-play here, the op­posi­tion of eidotos (true knowledge) and ei­dolon (shadow im­age):

 

Ton tou eidotos logon legeis, zonta kai en­psychon, ou ho ge­grammenos eidolon an ti legoito dikaios

'You mean the living, en­souled speech, the logos, of the truly knowl­edgeable, of which the written version can only be looked at as shadow image?'

eidos, p. 287: Ansehen, Gestalt, 2) Urbild, Idee, 3) die individuelle form des bestimmten Seins, auch verbunden mit ousia, od. auch to to aen einai, Arist., 40 Zustand, Beschaffenheit

eidotos: kundig, geschickt

eidaesis: Wissen, Wissenschaft, Kenntnis

eidolon: Bild, Gestalt, Schattenbild, Trugbild, Götzenbild

stom- / stro- / sym-

Canonical: {/s}{/t/tr}{e/o}{m/n/ph}

stom / a ... mund, maul, schlund

 

strepho... drehen, winden (445) -> trepho / tropae

-> strophae, Drehen, Wenden, Kreisen

kata-strophae Um- und Rückkehr , Wendepunkt im Drama, Polyb. Luc. (Rost 535)

kata-strepho umkehren umdrehen, umwenden

strobe- im Kreis drehen

strong ... Rundung

strophalinx wirbel, krümmung (447)

stropheion

strophinx, zapfen, türangel, -> gomphois

symballo (457 - 458)

s.chaema haltung gestalt form figur (496)

soma Leib, Körper (498)

sya- / sye-

wilde schweine, lat: sus

sybotes schweinehirt

sybaris: schwelgen

Syn-

mit samt, nebst, auf jemandes Seite, Kameraden, Anhänger

mit, nach, gemäß

Verbindung, Gemeinschaft, Teilnahme

zusammen

Thaeta

th ist häufig wie s gebraucht (432)

thaema . . theama theaeme

thaeaeto anschauen, staunen (445)

thao säugen, melken

theaomai anschauen, sehen, wahrnehmen

thaumazo bewundern

thanatos tod

a-thanatos unsterblich

techne

When we look at the saemei-phonic field of techne, we find many similar-sounding words that bear some connection of meaning, but are spelled slightly differently.

1 kunst, gewerbe, handwerk wissenschaft

2 kunstfertigkeit, geschick

3 Kunstgriff, list betrug

4 sitte, art, mittel etwas zu erreichen

5 kunstwerk ‑> maechanae

 

The root verb form of the field:

teucho, teuxo, tetykein: to create, form, manufacture, smithing, carpentering

techne: art, craft, skill, trick, fraud

tekton: carpenter, constructor, smith, creator, procreator->tekno

tektaino: woodworking, carpentering, metal working-> texis

tektonike: the art of woodworking (giving the hyle a morphe)

teuchos: tool, gear, ship gear, vessel, armor, weapon

tykos: stone hammer -> tykisma -> typis -> teich

tykisma: tone building, stone wall

teich-: everything pertaining to fortification walls

tekmar: set a goal, to judge from signs, conclude, to reckon, to calculate

tekno: procreate children

tokos teke tekno: gebären / zeugen, -> tiktein

texis: melting, dissolve -> etaxen, ->taxis

etaxen, etakaen: to change appearance through dissolution

takeros: molten

taxis: order, battle order

tagma: the thing ordered, positioned

taktikos: pertaining to the battle order, tactical

typis: hammer

typo-: verything created through impression, embossing, printing, engraving

tiktein: zeugen -> gennan

 theo-gonia

chaes - aoid aio: chaes-{aoidos/odos} -> Hesiodos

ara: ch - ae : ch-aos ch - aea -> nyktos -> gaea

Ouranos - rhea / Zeus - Hera (Rhea and Hera are practically the same name.

 Tropae

Tropae (trepo): das Umwenden, das Umkehren, Schlagen, Forttreiben der Feinde, Umkehr, Rückkehr, Wendung, Veränderung

haeliou tropai: Die Sonnenwende(n), cheimerinai: Winter/Sommersonnenwende

tropikos: der Sonnenwende zugehörig

tropologeo: tropisch, figürlich sprechen

tropos: Wendung, Richtung,

Art & Weise, Einrichtung, Verfassung, Manier, Sitte, Gebrauch, Mode, Charakter, Wesen

-> en-tropae: (en-tropomai) das in sich gehen, Scham, Achtung, Rücksicht (328)

-> en-tropia: Windungen oder Ränke

-> strophae

 W

weben, webstuhl ‑> Ill 1,31 epoichomenae den Webstuhl umgehend / auch Gebärstuhl (Rost 375)

histourgia (Weberei, textus), hyphainein

An example of epic imagery: The Proimion of Parmenides

The work of Parmenides stands at a cultural cross-roads, or cultural switch which the greek self-reflexion aka history of philosophy (Denken über das Denken, Heidegger WHD: das légein des lógos) made around ‑600 to ‑500. Formerly, this reflexion style was clothed in the epic poetry of Homer and Hesiodos (glossary: Epos), and after Parmenides, the influence of the newly invented technology (around ‑600) of the written text (textus, histourgon) made itself felt, and philosophy became based on the prosa style used by the later philosophers. Heidegger devotes his work WHD mainly to this important philosophical-historical junction. His main focus is a crucial passage in the main text:

 

chrae to légein te noein t' eon emmenai

Nötig ist zu sagen und zu denken, dass das Seiende ist.

Parmenides, Frag. VI / Heidegger: WHD, 105

 

The work of Parmenides is still composed in Hexameter but its content is already philosophical, not mythical any more. Conceptually, this work is a very significant step in the development that led to Plato, and Plato derives many of his key ideas from Parmenides. Platon sharply polemized against the epic style and ductus of the aoidoi-poets. It has been asked why Parmenides resorted to a style of writing that was already antiquated at his time and would under philosophical views not be considered fitting to the subject matter. Parmenides can be considered as one who still had access to the old traditional art of the aoide, and knew how to apply it. The present work seeks to continue the exploration of semantic rhizomes as Heidegger has pioneered in WHD. We will choose his work as point of departure, and focus on the most enigmatic part of the work: the proimion (introductory passage). Here it can be experienced to the full where Parmenides uses the formal methods and the mental imagery of the older epic tradition to full effect. It has been noted that the proimion poses a strong contrast in style to the main text: Whereas the main text deals with the immutable eternal realm of truth, the proimion recounts a breathless race Pleger (1991, p. 102). The following is the first part of the proimion. In the original, it continues to verse 32. We will only consider the part framed by hippoi ... hippous.[23]

 The Text

Quoted from Parmenides (1974), engl. transl. A.G.

 

B1

hippoi tai me pherousin, hodon t' epi thymos hikanoi, (1)

pempon, epei m' es hodon beaesan polyphemon agousai

daimonos, hae kata pant' astae pherei eidota phota.

tae pheromaen. tae gar me polyphrastoi pheron hippoi

harma titainousai, kourai d' hodon haegemoneuon. (5)

axin d' en chnoiaesin hiei syringos autaen

aithomenos. doiois gar epeigeto dinotoisin

kyklois amphoterothen, hote sperchoiato pempein

Heliades kourai, prolipusai domata nyktos

eis phaos, osamenai kraton apo chersi kalyptras. (10)

 

entha pylai nyktos te kai haematos eisi keleuthon,

kai sphas hyperthyron amphis echei kai lainos oudos.

autai d' aitheriai plaentai megaloisi thyretois.

ton de Dikae polypoinos echei klaeidas amoibous.

taen dae parphamenai kourai malakoisi logoisin (15)

peisan epighradeos, hos sphin balanoton ochaea

aptereos oseie pyleon apo. tai de thyretron

chasm' achanes poiaesan anaptamenai polychalkous

axonas en syrinxin amoibadon eilixasai

gomphois kai peronaeisin araerote. taei rha di auteon

ithys echon kourai kat' amaxiton harma kai hippous. (21)

 The Sem{e/aio}phonic Field

hippoi tai me pherousin

the horses that carry me hurriedly

 

The Sem{e/aio}phonic field of phora, phero contains the meanings of carry, fly, pull away. The english words ferry, far, furthering, forth have a connection here. In German, there are distantly connecting words: Fahren, Fahrt (in einem Pferde-Wagen), Fähre, Furt. Via Ferd, the word Pferd itself equally continues this line. pheromenos means hurriedly, fast, quick. This leads over to the field of messages and messengers. The connotations of "carry" carry over into the semantic field of bearing (fruit), fertility. In modern medical science, there appears a wonderful "magic" word: pheromone, which was intended to mean something like "(some kind of) hormone, transferred by aerial passage". pheromones are said to work directly on the limbic system, bypassing the higher cognitive centers of the pre-frontal brain.[24]

 

hoson: as far as, hosos: wie viel, wie weit, wie lange.

 

t' epi thymos hikanoi

the will will carry, hikanos: hinlangen, tauglich

 

thymos means not only will but also soul, feeling, heart, courage, boldness.

Thymos: Seele, Herz, Sitz des Empfindens, Lebenskraft, Leben, Wille, Neigung, Trieb, Verlangen, Gefühl, Seelenkraft, Mut, Kühnheit, Couraged, Ungestüm, Zorn.

Pflanze: Thymian, Weihrauch,

Thymele: Opfer-Ort.

 

pempon: pulled me forth,

schicken, senden, gehen oder fahren lassen

das ziel der Bewegung, der Ort wo die Bewegung herkommt.

 

epei m' es hodon (path) baesan polyphemon (renowned ) agousai (lead) daimonos (goddess)

having led me onto the renowned path of the goddess

 

agousai / agós: leader, ago: to lead, to drive, to bring, to rule, order, agon: fight, exertion arab.: jihad /jehad

 

hodos: the way, the path. directly connected by the sound is the word hosos: as far, as much, as long (on the way). hodos: Weg, Straße, Pfad, Bahn, Gang, Reise

 

polyphemon also means: where many voices are heard. We can relate phaeme to lat. fama, and fame. A further relation is with phone. See below, the connection to phos.

 

daimonos means god, goddess, divine being, and the (super-) human souls of the golden age (see above: chrys- chros- and the accompanying Sem{e/aio}phonic field). daemon: knowing, sage. daemosyne is experience, knowledge, wisdom, sagesse. Here we have the connection to the lost wisdom of the golden age.

 

hae kata pant' astae pherei eidota phota

which leads the well educated man through all places.

This translation may lead us into strange places indeed.

hae kata (downwards) pant' (all, the All) astae (educated) pherei (carry) eidota (image, idea) phota (illuminated)

We first notice that we have a full succession of words for "leading" (to somewhere specific) from the wealth of archaic greek sound imagery: pherousin.. hoson... hikanoi... pempon... hodon... agousai... pherei. The last word gives us the lead where we are being led to: into the reigning concept of the proimion: The Light - Phos. We know the word pharos for lighthouse, "the light that leads the way". pherei - pharos - phos. This is implied here.

asteios: urbane, well educated.

We are probably not mislead too far off the right path when we assume that the eidota phota bears a special meaning here, as the illuminated and illuminating images that we are being led to by the daimonos or the spirits of the archaic age of aoidoi.

 The field of eidos EIDW eidw

eidos idon: to see, to appear, to know, to understand, to recognize, eidol- is everything connected to images and idols. We can draw a direct connection from eidos to aoidos.

idea and idaee leads us into the platonic philosophy of idea or essence of the phenomena. This is the essence of Parmenides' work: the eternal, unchanging being that can be grasped and understood only with the nous or spirit-understanding.

idea: Wesen, Urbild, Idee,

Bild, Gestalt, Anblick, Beschaffenheit, Erscheinung

 The field of phos/phaos FAW FWS fws

The Sem{e/aio}phonic field of phos, photo-, phoos and phaos is reigned by phoibos the god of light: Apoll. This field extends to everything seen, visualized, also luminance, and illumination: photisma. phoibos: splendor, shining, sparkling, brilliant, luminous. phoibasma, phoibetes: prophet, oracle, mantics. phoinos: purple, phoenician, dark red (glowing). phosphoros: luck, fortune, rescue.

phos - phoibos: glänzend, leuchtend (Apoll)

- phoibasma: Wahrsagung phoibetes: Wahrsager

- phoinos: dunkelrot, phönizisch, purpur, Palmen

- phoror: tragen

- phosphoros: Glück, Heil, Rettung

phos - photos - phytos - phyo

phos - phaos - phero - pharo

phos - phone: Stimme, Laut, Rede, Sprache -> Logos

 

phos and phone are strongly related. phone is connected to everything making sounds, the realm of voice, speaking, talking. We see the connection to logos.

 

The next interesting observation is the polarity of Phaos and Chaos. This becomes relevant when we look at the song of the aoidos of chaea, the chaes-aoidos, or as he is better known: Hesiodos. Here we find the chaos or CAW. As we will recall, it is an often used imagery of creation myths, also the one in the bible, to describe a transition of chaos to phaos. (Let there be light). This corresponds to the phonemic switch from guttural, deep down in the throat to labial, which is at the outer ends of the lips. This phonetic change could be quite significant.

 

tae pheromaen.

thus I was carried forth

 

tae gar me polyphrastoi (knowledgeable) pheron (carried me) hippoi (horses)

to where the knowledgeable horses carried me

 

We may assume that there is a subtle Sem{e/aio}phonic connection between phero, phora, and phrasto- via the metaphor of message mentioned above. polyphrasto- derives from phraenae, and can be translated as having wit or as being sagacious. The subtle connection to the word carry can be constructed when we carry over meandings from one context into another (different or higher order). In Philology, we speak of trans-lation (Über-setzung -> Fähre). In Philosophy, we find a similar field in Hermeneutics and Interpretation. In Psychology, this is called transference or Übertragung. Otherwise it is also known as inter-ligence. As a side note: from this passage derives the old military adage for the soldiers that they should abstain from thinking and leave this to the horses, who have larger heads than they (A.D.)

 

harma (chariot) titainousai (tearingly pull forth),

they tearingly pulled forth the chariot

 

titaino- connects us to the archaic word of titanic energies. The meaning is connected to an ultimately extended or intended bow. The mental imagery gives us the figure of a titan who is stretched bent between heaven and earth. We have a titanic effort descripted here, all forces are bent under the will-power to the point of breaking. We are being told and being led into the deeper and deeper reaches of the archaic mind, the titanic mind, of the first generation of creation that Hesiod tells us about.

 

harma is the two-wheeled chariot of homeric adventure origin. We will get some interesting details on it in a moment. For classical Greek thought, the harma is the "Leitmotif" or lead symbol of the archaic mental frame. We recall Phaeton, because this is the point where he lost control over his horses and careened straight into his desaster with the sun chariot. We are on the safe side, because we have expert guidance without which we would have no chance.

 

Further meanings of the root harm- are: put together, join together, couple, sleep together, unite, harmony, harmonikos. In the indian Sanskrit we find the Yoga or jugum im Latin, both meanding yoke. The yoke is the device by which two oxen are chained together, to draw a pullock (pull-oxen). The technological advantage of the harma-warriors of the bronze age (of Homeric fame), was that their war chariots were drawn by speedy horses, while their hopeless adversaries had only heavily armored oxen carts, which the speedy  harma-warriors outran in a series of bronze-age Blitzkriege, by which the ancient aristocratic order of harma-warriors was established all across the Eurasian continent. See Spengler's masterful analysis of that once Geheimwaffe of the ancient warrior mythology. One very Geheimwaffe aspect of the technological art of harma-war is that the yoke which is useful for the oxen, will choke the horses. Something more fitting for then had to be found (an old meaning of fitting, fitness is: to equip with suitable weaponry. again we find our old friend the horse: equip means: quippous, hippous)

harma: Wagen, Gespann, Pferde vor Wagen

Vereinigung, Beischlaf, delph. zusammenfügen

harmo: zusammenfügen, passen

harmologos, harmonikos

 

kourai d' hodon (the way) haegemoneuon (guided).

Sun-daughters guided the way

 

Here we have the connection to the sun god(ess). Actually, it is explicitly given later on, in (9), where we get the word Heliades. This is Women's Work.

 

axin (wheel hubs) d' en chnoiaesin hiei syringos (reed whistle) autaen aithomenos (red hot).

the axle in the wheel hubs screetched the shrill sound of a reed whistle, red hot was it.

 

aithos or aitops is the field of fire, burning, heat, glowing red with heat, also the red hot iron.

 

We are lead back deep into the semantic rhizome of phos and phonae, giving us the connection of the light and the sound, the phoinos, which means purple red. We also get a cosm{ological/gonic} connection by the sound field of chnon, axon, pramantha or prometheus, the fire drill, leading us into the deepest abysses (chasms, maelstroem) of archaic cosmology.

Dechend / Santillana (1993), engl.: Hamblet's Mill, Gambit, Boston 1969.

 

In syringos and the connection of aithomenos ... aisomenos ... aidomenos, the double meaning of aio as hearing and wind-sound reappears, only immensely magnified to the limits of endurance. The sound fields of audae and asomai appear.

 

(7,2-8,1) doiois gar epeigeto dinotoisin kyklois amphoterothen,

because it was driven by two whirling wheels on both sides

 

we may recall the other meanings of kyklos in the cosmic realm, meaning eternal recurrences and stellar revolutions.

 

(8,2-9,1) hote sperchoiato pempein Heliades kourai,

as with even more hurry the heliadic daughters led the way

 

We get the feeling of continuously rising tension. This is very serious business, fraught with danger, and we must not slow down, because something (the night) will catch up with us when we do, engorging and engulfing us mercilessly, throwing us back into the abyss. This is the next best visual imagery coming as close as is possible to some very phantastic scenes out of the Star Wars Mythology where the rocket ships of the federation make it barely through a closing stellar passage.

 

(9,1-10,1) prolipusai domata nyktos eis phaos,

leaving behind us the house of night, toward the light.

 

Now we have almost made it. We have escaped the precession of the equinoxes and are now beyond the time barrier. We have entered the realm of the eternal. (Interpretation according to: DECHEND 1993).

 

(10,2) osamenai kraton apo chersi kalyptras.

forcibly removing the veil from the head.

 

osamenai has the root sound of ousia, the essence of Aristoteles. We are connected back to eidota, the images of the eternal being. The veil is removed, now we can see clearly, truly, and really. The eternal vision is cleared for us. It takes some more effort to remove this last veil. ous- is the root word for a handle, the handle by which we can hold things in reality.

osamenai: Wesen schaffend, Wesen machend

ousia: Dasein, Wirklichkeit,

ous, otos: Henkel, Griff -> Ankh

 

(11) entha pylai nyktos te kai haematos eisi keleuthon,

here is the gate of the ways of the night (nyktos) and the day (haematos).

 

keleuthos is again another word for the way, the path, the voyage. The next connection to a known sound field we have is kyllos, leading us to kyklos. There are straight and directed (ithys) paths and voyages and there are cyclical paths. This gate signifies their parting, the cosmic cross-roads. Keleutheia is a name for Pallas Athene.

 

There is one more station to pass, but it is not an obstacle to us, just another sign that we have made it. This is the gate separating the Ways. It is the gate of the passage of time, of endless ever-recurring kyklois of day and night.

 

kai sphas hyperthyron amphis echei kai lainos oudos.

and a gate lintel and a stone step surround it.

echo/echy: haltbar, halten, haben, anhalten, halt geben, haben, besitzen.

 

We find in the word hyper-thyron the root of the german Türe Tor, and the english door. lainos means made from stone. echo- means: hold, hold fast, give a hold.

 

autai d' aitheriai plaentai megaloisi thyretois.

The gate itself, shining with etheric light, is filled with huge swinging doors

 

ton de Dikae polypoinos echei klaeidas amoibous.

for which Dike the all-sentencing (punishing) polypoinos holds the keys to entry and exit.

 

This will lead us straight to Anaximandros and the apeiron. There the Dike is not a mythological goddess but the impersonal cosmic law of all things arising and decaying.

 

taen dae parphamenai kourai malakoisi logoisin

peisan epiphradeos,

To her spake the Sun-daughters with gentle words and persuaded her

 

hos sphin balanoton ochaea aptereos oseie pyleon apo.

to pull back the bolted bar from the door

 

tai de thyretron chasm' achanes poiaesan anaptamenai

and it opened wide, like a yawning, gaping abyss, the gorge of the doors

 

This leads us straight to Hesiod's account of The Beginning. chasm and achanes is the imagery of the chaos. Depicted is the gate of the apeiron which is the gate of chaos. We are now lead through the maelstrom, called Amlodhi's (Hamlet's) mill (Dechend 1993). The theme is the same as above. We are leaving the realm of temporal existence, proceeding into the eternal realm. We may call to memory our contemporary physical cosmological imagery of black holes, the maelstrom of gravity that exactly parallels this archaic tale.

charybdis Straße von Mession

charon: charoneios

chasko: gähnen, das Maul aufsperren

chasmos/chasma: Klaffende Öffnung

 

polychalkous axonas en syrinxin amoibadon eilixasai

gomphois kai peronaeisin araerote.

turning the polychalkous brazen / bronze (aere perennis) axes (pylons) with nails and rivets in their hinges

 

taei rha di auteon ithys echon

kourai kat' amaxiton harma kai hippous.

right through there, in the straight way, the Sun-daughters guided the chariot and the horses.

 

ithys, itharos is everything connected to straight(forward), also clear, pure. idea is not far away from this idea. ithyphallos is the erected phallos.

 

amaxa-, amaxi-, is everything belonging to the chariot and the cart. Also the stellar signs of the big and little dipper (great and small vessel, mahayana and hinayana).

 

Now we have left the kykloid ways of temporal existence and have returned to the straight path of Eternal Truth. This brazen door made of aere perennius had slammed shut 2500 years ago, and no one had entered here afterwards. Plato only had a dim recollection of what had occurred here. He did not have the key any more. For him, this was already dark, obscure mythology, as it was for all the countless generations of philosophers after him.

 The Deeper meanings of Greek names

After this tour de force which will surely earn us a heavy beating by linguists, philologists, and philosophers alike, we might be really brazen and get tempted to ask a really idiot question. What if there was more to the name Parmenides than just an arbitrary name (onoma homoion to pragmati)? We know from the amerind people how they chose names to reflect an essential character trait of the bearer (Chief Sitting Bull). What if we were to parse the word Parmenides and come to something like: para-men-ithys (straight beyond the mind). We can then graduate to Hesiodos, and analyse that as chaes-aoidos , the aoidos of chaos-chea-gea-gaia-rhea, which is exactly what describes the essence of his work Then we might advance to Anaximandros, and get something like: Anax-andros, or Ana-Axin-Andros. Timaios has some connection to the greek word timao, or to weigh, to deliberate. Then we might try Prometheus, whose brother interestingly was called Epimetheus (the before-thinker, and the after-thinker). Santillana and v.Dechend note that there is a connection to the vedic root term Pramantha, or fire drill (DECHEND 1993). And last, but not least, we get the toughest job of them all: Homer. He was the first and foremost aoide as we have already mentioned. That again is connected to aio. Let us now make a quick detour to a different corner of the world and take up the thread that we connected to the word aoum. We now get this little onoma-Sem{e/aio}phonic kyklos:

aoide - aio - aoum - soma - haoma - homeros - aoide

 The Omnipresence of embedded Ontologies

The forces that shaped modern european languages are to be found 2500 years ago in the development of greek language. The semiotic decisions and developments made between the time of Heraklit and Anaximander about ‑600 and the time of the Alexandrinian library became the foundation of the whole of western thought structure. They filtered directly into Roman Imperial Latin, the language of Cicero and Horaz, and from there into Church Latin, the Scholastic Age, and from there, with incorporation of the wisdom of the Byzantine Empire in european Renaissance thought and finally the thought systems of modernity: Bacon, Galileo, Copernicus, Newton, Descartes, Leibniz and Kant. The apparent diversity of european languages makes us forget that the underlying world models, their built-in ontologies, are extremely uniform. Because it is so all-pervasive, it is extremely difficult to separate out the determinants of this world-system. Kant's Critique was only the last of a long series of efforts to sort them out in a set of universal categories and arrive at a base that is not determined by the indo-european graeko-roman thought structure.

 The Seven Seals

... Of Multi-Level Codings and Experimental Linguistics

We might conclude this tour through The Aoide Sem{e/aio}phonic Universe with showing some vistas that up to now had to remain beyond current scientific validation because of lack of proper instruments. Perhaps by using new fuzzy phonetics logic and statistical based tools can we gain an approach that is above mere speculation. This is the field of Multi-Level Codings. It was said of the old scriptures that they were guarded by seven seals, only to be fully understood by the initiates. Although we have learned to decipher many of the old texts, and we are able to read a sense in them, the question is: While we have a meaning, do we have the message? This question must remain so far outside the realm of scientific investigation until the Symbolator is actually constructed. Only then can we interrelate all the available data of the old scriptures and epic tradition in one coherent data model. As coding theory tells us, any feature of an epos might serve as information carrier. Thus, we don't only have the conventional meaning of the words, but also their arrangement, the subtle variations of rhythm, of melody, and many more factors. When we can take all these factors into account, we can start at a work that could be called Experimental Linguistics, because now, it would be possible to construct and validate a great number of variations of codification.

 

This work has a long tradition, of course. In "Hamlet's Mill" Giorgio Santillana and Hertha von Dechend propose a codification of astronomical knowledge in the old mythology (Dechend 1993). A similar case is advanced in "The Myth of Invariance" by Ernest McClain (McClain 1978). Finally, we could mention the cabalistic tradition, as exemplified by Carlo Suarez (Suares 1976). Perhaps we can then uncover something in the great Vedic Tradition that has been hidden during thousands of years, carefully guarded in hundreds of generations of oral transmission by the Brahmin culture, and immensely valuable for the future of humanity on this planet.

Plato, Kraty­los: Onoma ho­moion to pragmati

In Kraty­los, Plato talks about the relation betweeen the sounds of words and nam­ings, and their meaning. He op­poses two views:

 

1) The names of things and people are products of so­cial con­ven­tion only. Prodikos (384b) and Pro­tagoras are (386a) the propo­nents of this view. The famous statement of Pro­tagoras is cited:

panton (all) chraema­ton (things-of-daily-use ) metron (measure) einai (is) an­thropon (the-human).

'The hu­man is the meas­ure of all things.'

 

2) The view of Kratylos is summed up in (Kratylos 434a):

to onoma homoion to prag­mati

the name similar the thing-being-dealt-with

'The name is simi­lar to the thing'.

 

Plato's treat­ment of the subject is pe­culiar. As in most of his dialogues, he lets Sokrates do most of the talk­ing, but he pro­fesses to be igno­rant about the sub­ject (Cusanus: idiota de mente). And those who are knowl­edge­able, are not present (Prodikos and Pro­tagoras), or are given no oppor­tu­nity to talk. Kratylos ap­pears only in the last quarter of the text, starting at 428d to 440. He has hardly the oppor­tu­nity to say two coherent sentences about his view on the matter when he finally gets the word. Therefore, the Kratylos dialogue has even been inter­preted as a semiotic (tongue-in-cheek practi­cal) joke that Plato made to be­fuddle his stu­dents in the acad­emy and us across the mil­lennia. Or it can be as­sumed that Plato didn't have the right con­ceptual tools to make a semiotic analysis. This seems to be a modern in­terpre­tation which is also pro­posed by Eco (1994: 25). There are two questions remain­ing: First: Plato is known to be one of the most out­stand­ing gen­iuses of mankind, but humor was not one of his strong points. Second: Why did he go through such an effort to make it known to posterity, that he didn't know very much to say about the mat­ter? If we as­sume that Plato saw enough rele­vance in the subject to write about it, then there are again two pos­sibili­ties: 1) He knew more about it than he wanted to write, keeping the unwritten teachings hovering in the back­ground. 2) He was guessing himself, but wanted to preserve something that even he, one of the most knowl­edge­able men of his time, had only a dim recollec­tion of, so that it be­came not totally lost to pos­terity.

 

Now what shall be pro­posed here, is not an answer to the ques­tion, if there ever is an answer at all, for in its pro­fun­dity, this is the question of the ideal uni­versal lan­guage (Eco 1994: 25). Instead, a way of continu­ing the socratic method of asking ques­tions shall be proposed. We are igno­rant, but we have a docta ig­no­rantia (Cusanus) to apply. In order to ask better ques­tions, we need a differ­ent concep­tual infra­struc­ture. We need to apply dif­ferent re­search meth­ods that have come to our reach only just now with the avail­ability of very powerful computer based (fuzzy linguistics, bayesian logic) lin­guistic tools. In order to enlarge on the argu­ments presented here the com­puting machinery would have to be available in the first place.

 The Kraty­los hy­pothesis and the autopoiesis of language

In 434a, the view of Kratylos is even extended to include not only the words but also the letters of which the words consist:

(Oukoun eiper estai to onoma homoion to pragmati,)

anankaion pephykenai ta stoicheia homoia tois pragmasin

necessity in-natural-manner the {sounds / the letters} similar to the things

'then by necessity must the sounds (the letters) be similar to the things also'.

 

In full: "If now the name is simi­lar to the thing, then by natural necessity must the {sounds / letters} be similar to the things also". Let us call this state­ment the Kratylos hy­pothe­sis. This statement of Plato contradicts the "signe arbitraire" principle of current linguistic consensus as it was coined by Saussure. The observation of Wilhelm v. Humboldt makes a similar statement: "In reality is a statement not constructed of the words that it consists of, but to the contrary, the words arise from the totality of the statement."

Humboldt, (1963, Ges. Werke, VII, 17, p. 72.)

file:///f:/mat-phil/humboldt/Energeia.htm

 The terms used by Plato

The translation of classical greek texts usually causes no problems when one needs to find equiva­lents for words of com­mon cul­ture use like: house, ship, knife, loom, horse, sheep, river, tree, moun­tain, etc., be­cause they denote easily identifi­able tan­gi­ble, physical ob­jects that are com­mon in west­ern, in­do-european cul­tures. Philo­sophical texts pre­sent more of a problem for trans­lation be­cause of the ex­treme vari­ance of se­man­tic fields of key terms used as com­pared with modern euro­pean lan­guages. Kratylos is even more prob­lematic because Plato uses his words in a tech­nical sense, and uses them while he talks about them, with­out hav­ing a proper meta lan­guage at his disposition. Here are the semantic fields of some of the keywords used by Plato (based on Rost 1862):[25]

 

onoma - name, de­nomination, appel­lation, designa­tion,word, expres­sion.

chraema - this se­mantic field de­notes things of practical relevance and ob­jects of hu­man envi­ron­ment: thing, ac­tion, us­age, money, be­long­ings, hap­pen­ings. There are many similar-sounding, similar-meaning words in the field: chreia, chreos, chreoo, chrae, chraezoo, chraes­tos, chraestes, chraeo. chraema was the term used by Pro­tago­ras. If the very global meaning of "thing" is substi­tuted for the more specific sense of "objects of human envi­ron­ment" then we get the most ob­vious and com­mon­sense state­ment of "the hu­man is the measure of all objects of the hu­man envi­ron­ment". No one would want to ar­gue against this. Oth­erwise what would they be there for? Today, one would call that statement a core re­quire­ment of er­go­nomics.

pragma - things done, business, ne­gotia­tion. This term is used by Kratylos. There is very slight vari­ance to chraema, but it might be significant. The se­mantic field of pragma is a little more ori­ented to­wards proc­ess, dealings, and do­ings. The word praxis be­longs to this field. Plato uses this term in the majority of places that are translated as "thing".

onta, einai - being things. With the "to ti aen einai" the thing­ness of things starts to ap­pear in Aris­toteles. Plato uses this term sparingly (385b) and he does not seem to differ­enti­ate very much be­tween the terms.

 The stoi­cheia as used in Kratylos and Timaios

In most transla­tions of Plato's works, stoi­cheia and gram­mata are treated as syno­nyms: meaning let­ters of the alphabet. But for Plato, there is a quite marked distinction: when he talks about stoi­chea, he talks about spoken sounds, and when he says grammata, he means the writ­ten let­ter. The trans­lation of Kraty­los has to be treated carefully to yield any useful in­for­mation of what Plato was talking about. The semantic field of stoichea is:

 

stoi­cheoma: element, funda­men­tal build­ing block, first prin­ciple

stoicheoo: to teach the ba­sics

stoi­cheomata: the 12 signs of the zo­diac

stoicheon: letter of the alpha­bet

stoichos: the rod or stylus of a sundial that casts the shadow by which the time is in­dicated on the dial

 

It is easy to see that the term is full of conno­tations from an­cient cos­mology. This sub­ject has been treated in another of Plato's dia­logues: Ti­maios. The first meaning of stoi­cheoma de­notes the idea of a first principle of the cosmos. This is also called the ar­chae. The zodiacal signs can be clari­fied in con­nection with the sundial. The sun­dial was intro­duced in Greece by Anaxi­mander. He is also connected with the original for­mula­tion of the greek theory of the four elements and the apeiron (Hölscher 1989, p. 172). The corresponding passage is in Timaios 48b:

 

Instead, as if we knew what really is the true nature of the fire, the water and the others, we talk about them as the ori­gins (archai), in a way that we equate them with the letters (the stoi­chea or original compo­nents) of the cosmos. But it is not adequate that the amateur may even com­pare them with the form of the sylla­bles.

 

This passage shows direct correspondence with the Kratylos hypothesis. The four ele­ments as Timaios de­scribes them in the quo­ta­tion, are also called stoi­chea. Anaxi­mander had brought the sun­dial from Baby­lon. The dial is partitioned in 12 sec­tions, like any mod­ern clock is, corre­sponding to the 12 hours of the day. The 12-scheme of the hours corre­sponds to the 12-scheme of the months of the year and the 12 zodia­cal signs wich are all of babylo­nian (or chaldean) origin. In the world of an­tiq­uity, if one wanted to learn about as­tron­omy/astrology, one went to Baby­lon, be­cause here were the first and fore­most experts of all the oikumene[26] on that sub­ject. Ti­maios, who is the fictional narrator in that mono­logue, has been intro­duced to the group in 27a as the one who is the most ex­pert of them on Astron­omy/As­trol­ogy. Obviously Timaios must have been in Babylon to learn the ba­sics (or stoi­cheoma) of the story he is telling in Plato's Timaios, just like Anaxi­mander be­fore him. We now have one detail left to clar­ify: why and how might the word stoichea have ac­quired the meaning of letter-of-alpha­bet which is usu­ally de­noted by the word gram­mata? Let us create a mental image of a sundial: We see a rod, or stylus, the sun shines, and the stylus casts a shadow. Then we call into memory another memo­rable fable of Plato, the cave par­able. There, Plato talks about a big cave where miserable humans are chained fast to their seats so they can­not move and only watch the shad­ows dancing on the cave walls, for­ever enter­tain­ing them­selves guessing what these shadows mean and what they stand for. The con­nec­tion to the stoi­chea be­comes im­mediately clear. The symbols of the alpha­bet are viewed as the shaped holes through which the pure light of the di­vine lo­gos shines. The shad­ows that are cast on the dial of the sun­dial or the cave walls are the meanings of those symbols as we per­ceive them from our lowly per­spective. Plato talks in Phaidros (276a) of the gram­mata as the shadow pictures of the liv­ing, animated lo­gos. He uses a very subtle word-play here, the op­posi­tion of eidotos (true knowledge) and ei­dolon (shadow im­age):

 

Ton tou eidotos logon legeis,[27] zonta kai en­psychon, ou ho ge­grammenos eidolon an ti legoito dikaios

'You mean the living, en­souled speech, the logos, of the truly knowl­edgeable, of which the written version can only be looked at as shadow image?'

 

With all these indi­cations and ex­am­ples from dif­ferent works, it is sure worth trying to formulate a hypothesis Plato's inter­est­ing specu­la­tion.

 The ex­am­ples of Kratylos are taken from greek epos

When we look at the examples given in Kratylos for the simil­iarity of name and thing, we quickly see that Plato was careful to choose words that have no physical ref­erent. He de­rives his terms mostly from greek my­thol­ogy and the ethical do­main. He starts out with the best known of the ancient greek aoidoi, as the po­ets, sing­ers, and bards of greek an­tiquity were called: Homer as one of those people who are daemi­ourgon onomaton, or master in the art of forming words (390e). (This and all following locations are again from Kratylos). This gives a sig­nifi­cant corre­spondence to the daemi­ourgos of Timaios who is creating the world. Then he goes through an as­sorted list of greek gods and heroes. In this, he follows the ge­ne­alogy list as given by the other great aoide, He­siodos, and in (409), he comes to the plan­ets and stars, the four ele­ments, and the four sea­sons. In (411) he talks about abstract and ethi­cal terms like virtue, right­eousness, etc. This gives an indi­ca­tion that Plato did not have the inten­tion to show us the rela­tions of names of physical ob­jects but rather, to the thought and asso­ciation struc­ture contained in the greek my­thologies. And here, it makes much more sense to speculate about a con­nection be­tween the thing and the name and the sounds of the names: this structure was cre­ated and transmit­ted by the ancient aoidoi.

 Epic  Rhythm, Meter, Associa­tion, and the Orality Debate

So there is no prob­lem to find a re­lation of the names to the phe­nom­ena per­ceived. The greek gods and mysteries lit­erally "lived" in the rhymes and me­tres of an­cient greek poetry, and it would be im­possi­ble to extract them from there. An­other indi­cation for this is Plato's use of pragma to de­note the "things". He doesn't talk about a thing­ness-in-itself as Kant may have pos­tu­lated, but about a mental process[28]. That is exactly the case when reciting an epic text. While the text was re­cited, the mental im­agery un­folded in the in­ner vision of the aoide and his audi­ence. So the examples Plato refers to, his pragmata, were for the ancient greek audience of epics a true proc­ess, of the nervous sys­tem, and not concepts. In this re­spect, we can per­ceive an auto-poieitic ele­ment, as the sounds them­selves create their meaning by rhythm, meter, and associa­tion. This subject has given rise to hot controversies in the classical philology community under the name of the orality debate. One side has been proposed by the followers of Milman Parry and researchers in the english speaking countries, while their opponents are located on the european continent, namely in Germany. There is not enough space for enlarging on this theme, the bibliography references in Latacz (1979), Parry (1930), Assmann (1983-1991d), and Havelock (1986-1990) contain most of the material. Also, Bolter (1990, 1991), Derrida (1974), Haarmann (1990, 1992), McLuhan (1972), and Mellaart (1989) may be referred for further information.

 Neurology, Epics, and the Brain Hemi­spheres

The question of self-stabilizing neuronal homeostatic patterns evoked by metered poetry has been treated by Turner and Pöppel (1988) (in Rentschler 1988, p. 71-90) and Barbara Lex "The Neurobiology of Ritual Trance" in (Lex 1979). In their pa­per, Turner and Pöp­pel make a strong case for the ef­fects of metered poetry on the devel­opment of what they call "a whole­some, whole-brained" us­age of the mind. Metered po­etry has the capa­bility of inducing the brain to a mode of func­tioning that is actu­ally of a higher quality than the free-form prosaic mode of thinking that has become the norm in script based civiliza­tion. They point out:

 

Human society itself can be pro­foundly changed by the de­vel­opment of new ways of using the brain. Illus­trative are the enor­mous socio-cultural conse­quences of the inven­tion of the written word. In a sense, reading is a sort of new synthetic in­stinct, input that is reflex­ively trans­formed in to a pro­gram, crys­tallized into neural hard­ware, and in­cor­porated as cultural loop into the human vervous cir­cuit. This "new in­stinct" in turn pro­foundly changes the environ­ment within which young hu­man brains are pro­grammed... our tech­nology [functions] as a sort of supple­men­tary nerv­ous system. (p.75).

The funda­mental unit of metered po­etry is what we shall call the line... it is recogniz­able metri­cally and nearly al­ways takes from two to four sec­onds to recite... The line is nearly al­ways a rhythmic, se­mantic, and syntac­tical unit as well - a sentence, a colon, a clause, a phrase, or a com­pleted group of these. Thus, other linguistic rhythms are accomo­dated to the basic acoustical rhythm, pro­ducing that pleas­ing sen­sation of ap­propri­ateness and inevitabil­ity, which is part of the de­light of verse and aid to the mem­ory. (p.76)

The second univer­sal character­istic of human verse meter is that cer­tain marked elements of the line or group of lines re­main con­stant throughout the poem and thus indicate the repetition of a pat­tern. The 3-sec­ond cycle is not marked merely by a pause, but by distinct re­sem­blances between the material in each cy­cle. Repetition is added to fre­quency to em­pha­size the rhythm. These con­stant ele­ments may take many forms, the simplest of which is the number of syl­lables per line... Still other patterns are arranged around allit­eration, conso­nance, asso­nance, and end rhyme. Often, many of these de­vices are used to­gether, some pre­scribed by the con­ventions of a par­ticular poetic form and others left to the discretion and inspi­ration of the individ­ual poet. (p. 77)

The third uni­versal charac­teristic of metrical po­etry is vari­ation. Vari­ation is a tem­porary sus­pen­sion of the met­rical pat­tern at work in a given poem, a surprising, unex­pected, and refresh­ing twist to that pat­tern... Me­ter is im­portant in that it con­veys meaning, much as melody does in a song. Met­rical pat­terns are ele­ments of an analogi­cal struc­ture, which is com­prehended by the right cere­bral hemi­sphere, while po­etry as lan­guage is pre­sumably proc­essed by the left temporal lobe. If this hy­pothesis is correct, meter is partially a method of introduc­ing right brain processes into the left brain activity of under­standing lan­gu­age. In other words, it is a way of connecting our much more cul­ture-bound linguistic ca­pacities with rela­tively more primitive spa­tial rec­ognition pattern rec­ognition facul­ties, which we share with the higher animals. (p.77)

The im­agery of the poem can become so intense that it is al­most like a real sen­sory experience. Per­sonal memories... are strongly evoked; there is often an emotional re-experi­ence of close per­sonal ties with fam­ily, friends, lovers, and the dead. There is an intense re­aliza­tion of the world and of hu­man life, to­gether with a strong sense of the recon­cili­ation of oppo­sites - joy and sorrow, life and death, good and evil, human and di­vine, reality and il­lusion, whole and part, comic and tragic, time and timeless­ness... There is a sense of power combined with effort­lessness. The poet or reader rises above the word, so to speak, on the "viewless wings of po­etry" and sees it all in its full­ness and complete­ness, but without loss of the clarity of its details. There is an aware­ness of one's own physi­cal na­ture, of one's birth and death, and of a curious tran­scen­dence of both, and, often, a strong feel­ing of uni­versal and par­ticular love and communal soli­darity. (p.81-82)

 

To rein­force their hy­pothesis the authors turn to new and specula­tive fields of sci­en­tific in­quiry, which are variously termed "neuro­biology", "biocyber­netics", and "psy­chobiol­ogy". Quot­ing an Essay by Barbara Lex, "The Neuro­biology of Ritual Trance", they state:

... various techniques of the al­teration of mental states... are designed to add to the linear, analytic, and verbal re­sources of the left brain the more intui­tive and holistic under­stand­ing of the right brain; to tune the central nervous system and alleviate accumu­lated stress; and bring to the aid of social soli­darity and cul­tural values the powerful so­matic and emo­tional forces me­di­ated by the sympa­thetic and parasym­pa­thetic nerv­ous systems and the er­gotropic and tro­photropic re­sources they contr­ol. (p.82)

The tradi­tional con­cern of verse with the deepest human val­ues - truth, goodness, and beauty - is clearly associ­ated with its involve­ment with the brain's own moti­va­tional system. Poetry seems to be a device the brain can use in re­flexively calibrating it­self, turning its "hardware" into "software", and vice versa... As a quintes­sen­tially cultural ac­tivity, poetry has been cen­tral to so­cial learn­ing and the syn­chroni­zation of social ac­tivities. Po­etry en­forces co­operation between left brain temporal organiza­tion and right brain spatial or­gani­zation and helps to bring about that inte­grated stereo­scopic view that we call true un­der­standing. Po­etry is, par excel­lence, kalo­genic - produc­tive of beauty, of ele­gant, coherent, and predic­tively pow­erful mod­els of the world. (p.84-85)

 

If we ap­ply the sci­entific findings to our hy­pothe­sis of the so­cie­tal role of the Epic Tradition, we get this sur­pris­ing pic­ture: The Aoidoi of the past Oral Age served a much more im­por­tant function than his­tory had allotted to them. They were the guardians of the sa­cred chants and poems whose purpose was much more than enter­tain­ing, or keeping a mytho­logical re­cord of the past, a sort of proto-his­tory. They were the mas­ters of the for­gotten arts of at­tuning the soul with the body, of project­ing the past and the future, and heal­ing the cracks and fissures of hu­man soci­ety. When civiliza­tion arose and hu­mans adopted writing, the use of poetry as cultural memory sys­tem was quickly dis­carded and rele­gated to purely enter­tain­ment pur­poses. The impor­tant cathartic role played by theater, and espe­cially tragedy, in ancient greek so­ciety is one of the last ves­tiges of this once vigor­ous tradition.


 

The Categorization System

The Noology also needs a Categorization System for knowledge or the Noologic Domain (or short: the Domain) is the term used for everything which can or could be known. This domain is also colloqually known as "the universe and the mind",  ie. the domain consists of everything in the SEMiosphere:

 

1) Which we perceive in and about the (external) world OBJects, and that

            a) exists factually, or

            b) could exist possibly, probably, and/or according to "the laws of nature".

 

2) Which we perceive as (processes in / apparitions of) our minds, SUBjective,

that can or could appear somehow in our minds as feelings, thoughts, ideas, phantasies, wishes, emotions, impulses, etc.

 

The philosophical term categorization is used here in a specific meaning: Categorization is that logical framework by which we make our most fundamental distinctions of the noologic domain. Systematically, categorization is the design of a category system. In Noology, a category system is a construct of ideas. This is also a question of philosophical debate, since the Platonic schools in Mathematics and Natural Science assume that humans can only trace and track a pre-existent ordering of the Kosmos .[29]

 

The use of a category system is to specify any given item out of the noologic domain exhaustively by its attributes, and ideally, it should be set-theoretically clean. This means that all items of the domain categorized by our system should form disjunct sets. (In common sense philosophy this is called pigeon-holing). Something of the like is the rationale behind the information technology of the relational DBMS which is the machinery behind the current SQL query languages and most commercial Database systems. The difficulty of correctly designing the logical structure of a relational DBMS, called "normalizing" has the same logical reason that makes a categorization so difficult. Since Noology is not dealing with "ideal" worlds, but with organizing the knowledge of the messy world of humans and society, its category systems cannot give those ideal clean sets. Rather, it works with fuzzy sets. (More on this later). Categorization is the most crucial task for setting up a knowledge system. If you have the wrong categorization then your knowledge system will most likely be skewed, flawed, or outright useless. Needless to say, a good category system is hard to come by.[30]

 

Many philosophers have come up with many different types of category systems and have given their reasons for designing them. Up to now, no philosopher had information machinery in mind when he designed his system.[31]/[32] So for the present purpose, the design criteria for the category system are influenced by these factors:

1) the human mind and the human memory (or mnemonomic factors).[33]

2) the various types and kinds of the universe of concepts which we want to categorize

3) technical requirements and capabilities of the available information machinery.

 

It is a philosophical problem whether there exist "natural" categories. My working assumption about this is that any categories are imposed on the world by:

1) our nervous system (which is of course biological, and in some sense also natural) and by

2) our thinking patterns and habits (which are partly cultural, ie. dependent on upbringing and education) but also subtly influenced by what our nervous system takes for granted before we even start to think.

 

We can think of categories as "flavored containers" somewhat like variable types of programming. There we have integers, floating, strings, arrays, truth values, and the OOP languages go so far as to construct a specific object type for any data item.

 

The Big W's: Where, When, Who, hoW, What, Whatfor, Whatwith, Whatagainst...

The mnemonomic factor of Noology is expressed best by the famous dictum "five plus minus two chunks" . Ie. a category system should not have more than about 5 to 7 basic categories, while of course there can be many more subcategories. Natural language gives a few basic patterns for the Noologic instrumentarium since it has served the human mind and memory factors for countless ages to prove that it works. The interesting factor there is that so many and so different languages exist, and all seem to be workable somehow, since the peoples that used them, survived up to our day.

 

The Germanic languages give a "natural" instrumentarium for categorization with the "W" questions.

In German - English, this is: 

1) Wo? - Where?

2) Wann? - When?

3) Wer? - Who?

4) Wie? - hoW?

5) Was? - What?

6) für Welchen Zweck? - Whatfor?

7) mit Welchen Mitteln? - Whatwith?

8) gegen Welche Widerstände? - Whatagainst?

...

This is already a categoric framework that can carry us quite far. But for now, I don't want to delve too much into matters of content, but will deal more with the logical structure of the framework, or with the empty categories.[34] 

A phonetic category framework.

I will first construct an empty framework for a database retrieval system, which has a mnemonic factor. It is more or less given "naturally" by the capabilities of the human phonetic instrumentarium. This has a slight slant towards indoeuropean languages, but I want to construct a framework that can be represented as ASCII strings and that is not possible with extra-european phonetics for which we would need a Unicode representation.

 

The Vowel Domain:

 

(1-8)                 a          i           ä          e          ü          ö          o          u

 

The vowels "ä", "ü" and "ö" are from the german language, but they reflect the greek distinction of alpha and eta, omicron and omega, even though the sound values may be different. 

 

The Consonant Domain:

(1-22)   Greek/Semitic

key       name    phonetic value / pronounciation example

y          aleph    english: yes, german: ja

q          qof       arabic qof

k          ka         english: king

g          ge         german/ english: gold

r           ro         german: rad, rot

rch       rch       german: acht, nacht, wacht, krach

ch         chi        greek: chimaira, german: nicht, licht, gicht

h          ha         german/ english: hunger

j           je         english: join

sch       sch       german: schön, schluss

s           sigma    english: soon

z          zeta      german: zeit

l           lambda  english: lip

d          delta     english: do

t           tau        english: tea

th         theta     english: thought

f           phi        english: food

b          beta      english: brain

p          pi         english: pod

w         we        german: wein

n          nu        english: noon

m         mu       english: moon

 

The Vowels and Consonants are arranged in a table:

 

y

a

i

ä

e

ü

ö

o

u

y

 

 

 

 

 

 

 

 

q

 

 

 

 

 

 

 

 

k

 

 

 

 

 

 

 

 

g

 

 

 

 

 

 

 

 

r

 

 

 

 

 

 

 

 

rch

 

 

 

 

 

 

 

 

ch

 

 

 

 

 

 

 

 

h

 

 

 

 

 

 

 

 

j

 

 

 

 

 

 

 

 

sch

 

 

 

 

 

 

 

 

s

 

 

 

 

 

 

 

 

z

 

 

 

 

 

 

 

 

l

 

 

 

 

 

 

 

 

d

 

 

 

 

 

 

 

 

t

 

 

 

 

 

 

 

 

th

 

 

 

 

 

 

 

 

f

 

 

 

 

 

 

 

 

b

 

 

 

 

 

 

 

 

p

 

 

 

 

 

 

 

 

w

 

 

 

 

 

 

 

 

n

 

 

 

 

 

 

 

 

m

 

 

 

 

 

 

 

 

 

 

By use of this construction method we have the benefit that we can name anything that we want with a string of pronounceable words. This is primarily a memory requirement (also called mnemotechnics), because it is harder to remember something for which one has no pronounceable word. (There are exceptions: Feelings and physical sensations, like smells, of course can be remembered very well without words). The string formation follows the regular expression rules and always starts with a consonant. By using y = aleph as first consonant (which is also a vowel) we can allow words that would otherwise start with a vowel. In hebrew (mytho-poetic) usage, the aleph is called the mother/father of all sounds, because all pronounced sound formation must start with a breath (ruach, pneuma). The use of "y" as key fits also well to the technical requirements. It must be an ASCII consonant that is in the ordinary 7-bit character set available on every keyboard, and it must not collide with any other of the characters in the set. Because y is also used in indo-european languages as both vowel and consonant, this makes it a suitable candidate.

 

By this scheme we can form all words of the indoeuropean language system, which serves well for constructing a dictionary of all entities of the noologic domain.

 

Another requirement for a category system is that it should be frugal, ie that it should be easily memorable. A table of (8 * 22 ) = 176 elements is manageable, but something less is desirable. The decimal multiplication table has 100 elements, and that is about the memory capacity that one can assume for normal iq primary school students. To make these tables available to the general public, the memory limits of a normal iq person were of course one of the main stringent constraints. As can be observed in actual language use, most indoeuropean languages don't use the full vowel or consonant table, so that in effect the actual size of the table comes more close to 100 elements. Also some vowels and consonants are used more sparingly than others.

 

In most cases, the standard keyboard vowels:  "a i e o u" (five chunks) will be sufficient.

Reference to ancient memory technologies

This table was constructed with reference to the ancient memory technologies of the distant past, before writing was invented. That means about 100.000 (or perhaps 1.000.000) years during which some kind of human culture was transmitted by memory alone. The last 3-5000 years of writing civilization are very short compared with that time depth. All those times, mnemotechnics was a prime cultural necessity, because people had to memorize all the things that were worth remembering in their minds only. I have extensively researched on these techniques and written about them in some of my publications.[35] From these times, only some rudiments have passed down to us, and probably with distorted meanings and connotations. For example the well known vedic mantra "aoum" contains the primary vowels (the in-between-vowels can be produced when one lets the sounds slide into each other). Likewise for the christian mantra "amen". In ancient greece, the word for hearing was "aio", and the "aoide" was the ancient memory bearer, the singer of the ancient lore (like the Homeric epics and Hesiod's works). "audae" was the ancient greek word for the recital of those hymns. In the germanic tradition, the god "odin" the name of whom is very similar to aoide was the bearer of the memory knowledge. In Africa, there exists a similar tradition of griots. In order to honor this tradition, I have made the "m" the last sound of the consonants, by this way we can construct the "aoum" with a (nearly) diagonal cross-section through the table. The word "aio" is of course contained in the first line.

The order of consonants

The order of consonants is given somewhat approximately how they are produced in the vocal tract: First come the "deep throat" sounds, of which the semitic languages have a richer variation than indo-european. Here the sound is produced by the voice box only without use of the tongue. Then come the gutturals. The tongue moves from the deeper posterior parts of the palate upwards and frontwards, until it reaches the dentals, labials and nasals. The "m" is a half-closure, as the air stream switches from the mouth to the nose, and for this reason it was used in the "aoum" mantra, to let the humming sound drift off into infinity. Of course the spiritual aspects of these techniques are of no concern here, but the ordering function can profit from the ancient principles.

The nesting of categories

So far, this table gives us only an empty framework but this is a powerful technique to generate unambiguous strings rith the regexp principle, which is very important for computer processing. As to the task of categorization, we have a rich literature of different systems that try to "pigeonhole" the world knowledge for bibliothecary uses into sets, by which the library stacks and catalogs can be ordered in some manageable way. This task is more commonly known as classification. Usually, these schemes give only very rough distinctions, like the Dewey classification system, but here the governing principle is more to provide a financially adequate system (ie cheap enough) for ordering the library stacks and catalogs. It depends more often than not purely on the interpretation of the library personnel into which class a book will be more or less properly fitted. And more often than not, a book is classified in this way never to be found again. Since so many category and classification systems have been devised, it is not really useful to add yet another version to this material. It has long become obvious that the world of knowledge can not be fitted into a table of any memorable dimension and to hope that these categories will ensure that the material will be adequately positioned and then, by use of these categories, that it can be retrieved. The problem of retrieval is that a researcher often thinks that the item s/he is looking for, is located under quite different categories, than where it is actually stored. This problem will not concern us for the moment. Instead I will embark on something that today is technically easier than what the philosophers of the past had to their avail: The nesting of categories.

 

The nesting of categories is a quite ancient technique and in all the sciences, and is well developed and presents a formidable edifice, like the classification of organisms. The principle is to identify a class by a certain set of attributes, like:

(class1 attr1 attr2 )

and then identify a sub-class by a additional attributes like:

(class1.1 attr1 attr2 attr3 )

 

The rationale is that "attr1" and "attr2" are of a more general kind, and "attr3" is a more specific kind.

Likewise one can define different subclasses with differing sets of further attributes like:

(class1.2 attr1 attr2 attr3a )

(class1.3 attr1 attr2 attr3b )

(class1.1.1 attr1 attr2 attr3  attr4 )

(class1.2.1 attr1 attr2 attr3a attr4 )

and so forth.

 

Aristoteles gave a famous quote: "man is a featherless biped animal".

This needs to be analysed with a structure graph since the nesting is implicit:

 

(class animals

               (class birds, attr:feathers, attr:2ped),

               (class no_birds, attr:no_feathers, (attr:0_ped | attr:4_ped | attr:6_ped | ... | attr:1000_ped),

                              (class man, attr:no_feathers, attr:2_ped),

               )

)

Man belongs to the super-class "animals" and to sub-class "no_birds",

and is unique there by attribute 2_ped.

 

In present information technology, this classification technique is the principle of "object oriented programming" and is also called "ontology" in current www organizing systems. Unfortunately, time and again, it appears necessary to reorder these categorizations according to different principles. To implement these changes in the textbooks and library systems is usually a quite monumental task. But with present data processing technology, this has become much easier. So we can view the above table actually as a stack of tables which can be searched with computers. Each table houses a number of strings which are [primary, secondary, tertiary ... ] retrieval keys for a database system. Permuting and reordering these strings is technically quite easy, and with the capacity of computers also within the technical and practical usability. After all, the time factor is crucial and one must search any number of permutations and combinations to find a specific item when one is not sure where it is exactly stored. In computer science, this topic appears for example under the title "inverted database".

Fuzzy Phonetics

The same is the case with the phonetics that are the base of the alphabet. While the alphabetical letters give the impression of outlining a clearly distinct set, the sounds they represent are a quite fuzzy set. This is more apparent with the vowels. In the english language, the alphabetic letter "a" can stand for almost any vowel sound, depending on context. It is also possible to slide through the above sequence of "a  i  ä e  ü  ö  o  u" and produce all sorts of intermediate sounds which can belong to either one or the other vowel class. Similarly with many consonants: l and r can slide into each other (this is why the chinese people have difficulty to distinguish them since they use only one sound in between these two), f and w, b and w, d and t, etc. Therefore such similar consonants are grouped by linguistics in classes like nasals, labials, dentals, glottals, etc. In this way, the different variations of phonetic values of characters of the alphabet are more close to fuzzy sets than to the strict disjunct set theory. This is another reason for the letter classification presented here. The issue here is mainly how to deal with the information technology of fuzzy sets.

Fuzzy categories and fuzzy logic

For 2300 years, from around 330 BC (the time of Aristoteles) to around 1970 the scientific progress of humanity dealt mainly with disjunct sets.[36] This is the base of Aristotelian logic, and the Boolean logic which drives our computers. Any item X either belongs to some class or set Q or it does not. For reasons of ASCII simplicity, the mathematical "Element Of" symbol is here substituted with "e". XOR means eXclusive OR, either something is, or is not contained in Q, there is no other possibility.

(X e Q) XOR (X (not) e Q)  

The relational DBMS technology is an implementation to extend this principle to practical data processing applications. Example: An item X which is characterized by attributes (attr1, attr2, attr3, attr4, ...) is either present in a warehouse Q or it is not.

 

From around 1970, with the work of Lotfi Zadeh on "Fuzzy Logics", there has been a shift in focus to things that cannot be categorized according to the rigid disjunct set theory. For example:

 

"Day" means: attr: (sun is shining, AND stars are not visible, AND it is bright).

"Night" means: attr:(sun is not shining, AND stars are visible, AND it is dark).

"Morning" and "Evening" are terms for describing phases of the diurnal circle, where the attributes are:

"Morning" attr: (NOT(really dark)) AND attr: (NOT(really bright)) AND attr: (some stars are visible: Venus) AND attr: (Clouds are red).

 

Etc. But it is not possible to give exactly the attributes which characterize "Morning" or "Evening". Their attributes form a "fuzzy set".

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


[1] See Wagner's Epos, with Siegfried who reassembles the broken sword, and of course,

also The Lord of the Rings, by R. R. Tolkien.

[2] Akasha Chronicles:

http://wn.rsarchive.org/Books/GA011/English/HR1981/GA011_c02.html

http://www.rudolf-steiner-handbuch.de/images/SteinerHandbook2015.pdf

[3] Kalevala, see H.v. Dechend.

[4] See: Gesar Epos:

https://en.wikipedia.org/wiki/Epic_of_King_Gesar

[5] Die Werke von Hesiodos:

http://homer.library.northwestern.edu/html/browseframeset.html

Die beste Grundlage für das Studium des Archaischen Griechischen Aoide-Idioms und seiner Semantik-Rhizome sind die Werke von Hesiodos: Theogonie und Werke und Tage (works and days).

[6] Die besten heute noch erhaltenen Archaischen Worte sind die deutschen (von Be-Deuten) irregulären Verben.

https://deutsch.lingolia.com/de/grammatik/zeitformen/unregelmaessige-verben

Auf einen Vokal "a" im 2. Fall folgt meistens ein "o" oder ein "u" im 3. Fall.

Diesen Wort-Schatz kann man noch ein bisschen erweitern:

Denken, Dank, Gedunken, Siehe Es dünkt mir, wo diese Wort-Wurzel noch vorkommt.

Sehen, Sah, Gesochen

Stinken, Stank, Gestonken

Kriechen, Krach, Gekrochen

Schwizzen, Schwozz, Geschwazzen

Sprechen, sprach, gesprochen. Siehe dazu: Allso Sprach Zahratustra.

Schweigen, Schwag, Geschwochen. Siehe dazu: Allso Schwag Zahratustra.

Essen, Aass, Ge-sochen

Trinken, Trank, Getrunken, oder auch: Betronken

Fallen, Faell, Gefollen

Lieben, Lab, Geloeben, oder auch: Geluben, von dem Gelöbnis.

Laufen, Lief, Geloffen

Schleichen, Schlich, Geschlochen

Liegen, Lag, Gelugen

Scheissen, Schass, Geschochen

Wollen, Wall, Gewollen

Winken, Wank, Gewonken

Fikken, Fakk, Gefokken

Wixxen, Waxx, Gewoxxen

Pissen, Pass, Gepossen

[7] Das Jiddisch als mittelalterliche Sprache enthält noch mehr Archaisches Sprach-Material.

https://de.wikipedia.org/wiki/Jiddisch

http://www.graf-gutfreund.at/daf/02grammatik/01verb/01indikativ_aktiv/02perfekt/gr2_verbliste_leer.pdf

[8] It is well known that the Upper Aristocracy and Kings / Emperors in Thailand and Japan use a quite different language than the common vernacular. This has also likely been the case in most Archaic Societies, e.g. of the Indo-European or the Semitic Realm.

[9] Die Vernunft [Nous/Noos] ruft Ideen [Idea] ins Leben, der Verstand [Logos, Ratio] findet Wahrheiten [Alaetheia] Wahrheiten sind leblos und lassen sich mitteilen, Ideen gehören zum lebendigen Selbst [Pneuma, Pathe] ihres Urhebers und können nur mitgefühlt [Pneuma] werden. Das Wesen des Verstandes ist Kritik, [Krinaesis, Dichotomia, Dialektik, Unterscheidung] das Wesen der Vernunft ist Schöpfung. [Poiaesis] Die Vernunft erzeugt das, worauf es ankommt [En-Ergeia], der Verstand setzt es voraus [Ergon].

Spengler (1980, 570) und A.G. Erläuterungen in []

[10] Its picture is given in ILL:G-1. (Illias)

[11] Here we have a typical hen-egg question of the history of writing: It is commonly assumed in linguistics that the sound chi could only be corresponded with a cross-mark after the alphabet was invented. But since the cross-mark is probably one of the oldest ornamental symbols of all, to be found in the symbols of the Vinca culture predating the alphabet by 5000 years, it should not be ruled out altogether that there is an older connection of chi and cross. (Maria Gimbutas).

As a side line thought: The Chi compares to the Aleph by its looks quite like a child exercise that didn't get it right on first try.

[12] The greek numerical value of chi is 600.

[13] Here we also find the equinoctial precession.

[14] Here is also Xyphe. And a connection to xyro- that is everything made of iron, the iron age.

[15] German: ins Fettnäpfchen treten.

[16] Again, it should be noted that this is not so by standard linguistic practice. But we have to remind here that we are not attempting standard linguistics.

[17] gallos is the castrated priest of kybele, the near-eastern variant of gaia.  See the connection to chero.

[18] http://www.noologie.de/cunni.htm

Das griechische Rhizom geno- gono- gyno- hat mit Winkeln (Schamdreieck), und allem Weiblichen zu tun. Trigono-Maetrie heißt also ursprünglich: Die Urmutter (meter) mit dem Schamdreieck (gono). Also eine ursprüngliche matriarchale Dreifaltigkeit. Euklid würde sich im Grabe umdrehen!

[19] https://en.wikipedia.org/wiki/Thomas_Bowdler

[20] See the Flusser account of cuneiform writing.

... to counterposition the "spirit" against the matter which has the absurd tendency to gravitate towards thermal death [entropic equilibrium]. When inscribing or graphing, this "spirit" penetrates into a material object in order to "inspire" it, meaning to make it improbable.

This can also be equated with an ideology of prevalence of male elements, like they occur in patriarchic societies.

In all of western and social natural history, the imprinting, or informing factor was considered more important,

more valuable, etc. than the substrate factor of the Matrix or Materia, or the Hylae.

[21] As they appear in the discussions of Aristoteles and Plato's Timaios.

[22] The pressing being a somewhat more robust variation of forming.

[23] The scholarly consensus is that the proimion is mythical in content and corresponds to a style that was used by Hesiodos 200 years before Parmenides.  It differs from the style of the Ionic philosophers who lived about 100 years before Parmenides up to his time. 

[24] phero:

tragen, forttragen, fliegen, fortreißen, Botschaft überbringen, Geld entrichten

Stimme abgeben, hervorbringen, erzeugen, fruchtbar sein.

pheromenous: eilends, rasch

[25] But this leads into a subject of highest importance: The autopoiesis of language. This term is derived from Maturana's theory of autopoiesis in organic nature (Maturana 1987, 14,55,60-110). In semiotics, one talks of the structural coherence of language (Eco 1972, 87).

What is today called classi­cal greek, is the koinae, the stan­dard­ized language of the post-alex­andrian oikumene. The koinae is a product of the work of hellenistic scholars whose center was Alex­andria.

[26] the ancient world, known to the Greeks, later in Hellenistic times, the territories that had been under the rule of Alexander and his successors.

[27]eidos, p. 287:

Ansehen, Gestalt, 2) Urbild, Idee, 3) die individuelle form des bestimmten Seins, auch verbunden mit ousia, od. auch to to aen einai, Arist., 40 Zustand, Beschaffenheit

eidotos: kundig, geschickt

eidaesis: Wissen, Wissenschaft, Kenntnis

eidolon: Bild, Gestalt, Schattenbild, Trugbild, Götzenbild

[28] In present-day constructivist cognitive neuronal theories, one would talk about neuronal connection and excitation structures, networks, and association maps, that are localized in specific brain regions.

[29] The meaning of the ancient greek term Kosmos was, literally, decor(ation/um) and ornament, but was subsequently used philosophically, as a principle of (law and) Order to contra-distinguish it from the Chaos. Thus, the Kosmos was also synonymous for everything orderly in nature and the universe. Theology, philosophy and the sciences dealt for 2500 years mainly with these orderly factors, and only recently have the disorderly and chaotic elements of nature found entry into the halls of science under the name of Chaos Theory, Turbulent Fluid Dynamics, etc.

[30] The most interesting case of an obviously messy category system is the Chinese Encyclopedia of animals by Borges.

https://en.wikipedia.org/wiki/Celestial_Emporium_of_Benevolent_Knowledge

In response to this proposal and in order to illustrate the arbitrariness and cultural specificity of any attempt to categorize the world, Borges describes this example of an alternate taxonomy, supposedly taken from an ancient Chinese encyclopædia entitled Celestial Emporium of Benevolent Knowledge.

The list divides all animals into 14 categories:

1) Those that belong to the emperor, 2) Embalmed ones, 3) Those that are trained, 4) Suckling pigs,

5) Mermaids (or Sirens), (6 Fabulous ones , 7) Stray dogs, 8) Those that are included in this classification

9) Those that tremble as if they were mad, 10) Innumerable ones, 11) Those drawn with a very fine camel hair brush,

12) Et cetera, 13) Those that have just broken the flower vase, 14) Those that, at a distance, resemble flies.

Borges claims that the list was discovered in its Chinese source by the translator Franz Kuhn.

[31] Die Kategorien von Kant sind für diesen Zweck nicht brauchbar;

https://deutsch.lingolia.com/de/grammatik/zeitformen/Es gibt Kategorien

1) der Quantität: Einheit / Vielheit / Allheit

2) der Qualität: Realität / Negation / Limitation

3) der Relation:

Inhärenz und Subsistenz (Substanz und Accidens)

Kausalität und Dependenz (Ursache und Wirkung)

Gemeinschaft (Wechselwirkung)

4) der Modalität: Möglichkeit - Unmöglichkeit / Dasein - Nichtsein / Notwendigkeit - Zufälligkeit.

[32] http://www.textlog.de/7545.html

Auch die Kategorien des Aristoteles sind dafür nicht zu gebrauchen.

Der eigentliche Begründer der Kategorienlehre ist Aristoteles. ...

nennt er katêgoriai, genê tôn katêgoriôn, schêmata tês katêgorias tôs ontôn die (objektiven) Grundaussagen über das Seiende, die allgemeinen Seinsweisen selbst, die obersten Gattungsbegriffe, denen alles Seiende sich unterordnen läßt. Er nimmt zunächst zehn Kategorien an:

Substanz (ousia), Quantität (poson), Qualität (poion), Relation (pros ti), Ort (pou), Zeit (pote), Lage (keisthai), Haben oder Verhalten (echein), Tun (poiein), Leiden (paschein).

[33] More colloquially one can also call this ergonomic.

[34] Apart from the technical usage in programming science, this method owes some credit to Gotthard Günther's Kenogrammatics.

[35] See for example my dissertation D&Z.

[36] "Pigeonholing" means a pigeon can be only in one hole, and cannot be in any other hole at the same time. The paradox of Schroedinger's cat is a quantum theory variant of the fuzzy set paradigm. In fuzzy set theory, Schroedinger's cat can be about 70 % alive and 30 % dead, all the while and at the same time.