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🔗 Writing systems 🔗 Japan 🔗 Japan/History 🔗 Japan/Ainu

The Hokkaido characters (北海道異体文字, hokkaidō itai moji), also known as Aino characters (アイノモジ, aino moji) or Ainu characters (アイヌ文字, ainu moji), are a set of characters discovered around 1886 on the Japanese island of Hokkaido. At the time of their discovery, they were believed to be a genuine script, but this view is not generally supported today.

🔗 Linguistics 🔗 Writing systems

Although people in many parts of the world share common alphabets and numeral systems (versions of the Latin writing system are used throughout the Americas, Australia, and much of Europe and Africa; the Arabic numerals are nearly universal), styles of handwritten letterforms vary between individuals, and sometimes also vary systematically between regions.

🔗 Ancient Near East 🔗 Ancient Egypt 🔗 Assyria 🔗 Iraq 🔗 Writing systems 🔗 Archaeology 🔗 Phoenicia

The Amarna letters (; sometimes referred to as the Amarna correspondence or Amarna tablets, and cited with the abbreviation EA, for "El Amarna") are an archive, written on clay tablets, primarily consisting of diplomatic correspondence between the Egyptian administration and its representatives in Canaan and Amurru, or neighboring kingdom leaders, during the New Kingdom, spanning a period of no more than thirty years between c. 1360–1332 BC (see here for dates). The letters were found in Upper Egypt at el-Amarna, the modern name for the ancient Egyptian capital of Akhetaten, founded by pharaoh Akhenaten (1350s–1330s BC) during the Eighteenth Dynasty of Egypt. The Amarna letters are unusual in Egyptological research, because they are written not in the language of ancient Egypt, but in cuneiform, the writing system of ancient Mesopotamia. Most are in a variety of Akkadian sometimes characterised as a mixed language, Canaanite-Akkadian; one especially long letter—abbreviated EA 24—was written in a late dialect of Hurrian, and is the longest contiguous text known to survive in that language.

The known tablets total 382, of which 358 have been published by the Norwegian Assyriologist Jørgen Alexander Knudtzon in his work, Die El-Amarna-Tafeln, which came out in two volumes (1907 and 1915) and remains the standard edition to this day. The texts of the remaining 24 complete or fragmentary tablets excavated since Knudtzon have also been made available.

The Amarna letters are of great significance for biblical studies as well as Semitic linguistics because they shed light on the culture and language of the Canaanite peoples in this time period. Though most are written in Akkadian, the Akkadian of the letters is heavily colored by the mother tongue of their writers, who probably spoke an early form of Proto-Canaanite, the language(s) which would later evolve into the daughter languages of Hebrew and Phoenician. These "Canaanisms" provide valuable insights into the proto-stage of those languages several centuries prior to their first actual manifestation.

🔗 Writing systems

Scriptio continua (Latin for "continuous script"), also known as scriptura continua or scripta continua, is a style of writing without spaces or other marks between the words or sentences. The form also lacks punctuation, diacritics, or distinguished letter case. In the West, the oldest Greek and Latin inscriptions used word dividers to separate words in sentences; however, Classical Greek and late Classical Latin both employed scriptio continua as the norm.

🔗 Writing systems

A lipogram (from Ancient Greek: λειπογράμματος, leipográmmatos, "leaving out a letter") is a kind of constrained writing or word game consisting of writing paragraphs or longer works in which a particular letter or group of letters is avoided. Extended Ancient Greek texts avoiding the letter sigma are the earliest examples of lipograms.

Writing a lipogram may be a trivial task when avoiding uncommon letters like Z, J, Q, or X, but it is much more challenging to avoid common letters like E, T, or A in the English language, as the author must omit many ordinary words. Grammatically meaningful and smooth-flowing lipograms can be difficult to compose. Identifying lipograms can also be problematic, as there is always the possibility that a given piece of writing in any language may be unintentionally lipogrammatic. For example, Poe's poem The Raven contains no Z, but there is no evidence that this was intentional.

A pangrammatic lipogram is a text that uses every letter of the alphabet except one. For example, "The quick brown fox jumped over the lazy dog" omits the letter S, which the usual pangram includes by using the word jumps.

🔗 Numbers 🔗 Canada 🔗 Arctic 🔗 Writing systems 🔗 Indigenous peoples of North America 🔗 Canada/Canadian Territories 🔗 Alaska

Kaktovik Iñupiaq numerals are a featural positional numeral system created by Alaskan Iñupiat.

Arabic numeral notation, which was designed for a base-10 numeral system, is inadequate for the Inuit languages, which use a base-20 numeral system. Students from Kaktovik, Alaska invented a base-20 numeral notation in 1994 to rectify this issue, and this system spread among the Alaskan Iñupiat and has been considered in other countries where Inuit languages are spoken.

The image at right shows the digits 0 to 19. Twenty is written as a one and a zero (I0), forty as a two and a zero (V0), four hundred as a one and two zeros (I00), eight hundred as a two and two zeros (V00), etc.

🔗 China 🔗 Writing systems

Since the second half of the 20th century, inscriptions have been found on pottery in a variety of locations in China, such as Banpo near Xi'an, as well as on bone and bone marrows at Hualouzi, Chang'an County near Xi'an. These simple, often geometric, marks have been frequently compared to some of the earliest known Chinese characters appearing on the oracle bones, and some have taken them to mean that the history of Chinese writing extends back over six millennia. However, only isolated instances of these symbols have been found, and they show no indication of representing speech or of the non-pictorial processes that a writing system requires.

🔗 Writing systems 🔗 Writing

Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content", or "without the smallest unit of meaning". With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. Where asemic writing distinguishes itself among traditions of abstract art is in the asemic author's use of gestural constraint, and the retention of physical characteristics of writing such as lines and symbols. Asemic writing is a hybrid art form that fuses text and image into a unity, and then sets it free to arbitrary subjective interpretations. It may be compared to free writing or writing for its own sake, instead of writing to produce verbal context. The open nature of asemic works allows for meaning to occur across linguistic understanding; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work, that is, asemic writing can be polysemantic or have zero meaning, infinite meanings, or its meaning can evolve over time. Asemic works leave for the reader to decide how to translate and explore an asemic text; in this sense, the reader becomes co-creator of the asemic work.

In 1997, visual poets Tim Gaze and Jim Leftwich first applied the word asemic to name their quasi-calligraphic writing gestures. They then began to distribute them to poetry magazines both online and in print. The authors explored sub-verbal and sub-letteral forms of writing, and textual asemia as a creative option and as an intentional practice. Since the late 1990s, asemic writing has blossomed into a worldwide literary/art movement. It has especially grown in the early part of the 21st century, though there is an acknowledgement of a long and complex history, which precedes the activities of the current asemic movement, especially with regards to abstract calligraphy, wordless writing, and verbal writing damaged beyond the point of legibility. Jim Leftwich has recently stated that an asemic condition of an asemic work is an impossible goal, and that it is not possible to create an art/literary work entirely without meaning. He has begun to use the term "pansemic" too. He also explained (in 2020): "The term 'pansemia' didn't replace the term 'asemia' in my thinking (nor did 'pansemic' replace 'asemic'); it merely assisted me in expanding my understanding of the theory and practice of asemic writing". Others such as author Travis Jeppesen have found the term asemic to be problematic because "it seems to infer writing with no meaning."

🔗 Writing systems 🔗 Archaeology 🔗 Romania

The Vinča symbols, sometimes known as the Danube script, Vinča signs, Vinča script, Vinča–Turdaș script, Old European script, etc., are a set of symbols found on Neolithic era (6th to 5th millennia BC) artifacts from the Vinča culture of Central Europe and Southeastern Europe. The vast majority of historians agree that those symbols are not a writing system, but private symbols or ornaments of some kind. A minority of historians claim that this is the earliest known writing system that has influenced other early writing systems.

🔗 Books 🔗 Writing systems

Codex Seraphinianus, originally published in 1981, is an illustrated encyclopedia of an imaginary world, created by Italian artist, architect and industrial designer Luigi Serafini between 1976 to 1978. It is approximately 360 pages (depending on edition) and written in an imaginary language.

Originally published in Italy, it has been released in several countries.