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|Created by||Miles B Huff|
|Regulated by||The Theodian government|
(via the Jury of Linguistics)
|Influenced by||Roman alphabet, Runes, Hangul, Bimodular numerals; ergonomics|
|Number of styles||7|
|Number of characters||25|
|Number of diacritics||3|
The Theodic script is a featural alphabet originally designed by Miles B Huff for use with the Theodian language. It is designed to be more ergonomic and intuitive than most existing scripts, while remaining easily extensible (unlike, say, Hangul). The basic form of the alphabet has 25 letters (16 consonants and 9 vowels), each yielded from one of 2 IPA-esque tables. There are 7 "styles" of the alphabet, each with a different intended purpose; and an extended version is being developed, intended to be able to support a wider array of languages than basic Theodic.
Like with the Latin alphabet, each language that uses the alphabet changes it to suit its particular uses. Each letter also has a prototypical name, and the base alphabet has a typical ordering. The first
n consonants of the alphabet typically double as numerals.
Development of the alphabet began in 2014, and the basic form was completed in early 2016. This article was current as of 2016, March.
- Note that, although Theodic is a vertical script, it has been written horizontally in this article so as to better fit English typesetting constraints.
- Note that the convention in Theodic is to have sounds from earlier in the vocal tract occur earlier in charts. This is per the following reasoning: Having close vowels be higher up in the chart makes more sense than having them lower in the chart, since the mouth literally rises to make them. Since having close vowels at the top causes the F1 axis to be inverted, it then makes sense to have back vowels come at the beginning of the chart, so that the F2 axis is inverted as well. Accordingly, the consonant-chart also places sounds made further back in the vocal tract earlier in the chart, and (generally) sounds that are more close, it places higher in the chart (although the vertical axis is, in Theodian tradition, more formally defined by sonority).
The 16 consonants in basic Theodic are assembled by placing 4 basic symbols into a 4x4 place-manner chart, such that one axis has its symbols rotated 180°, and such that the symbols overlay each other. This generates a very regular and schematic set of consonants with which to work, and provides a language with 4 places and 4 manners with which to work (using the extended version if more be needed).
Like with the rest of basic Theodic, these consonants were designed specifically with Theodian in-mind.
Miles, who is thought to have a kind of dysgraphia, drew a number of graphemes innumerous times in quick succession to see what they reduced to, in order to find the stablest forms. He finally came up with a set of symbols, seven of which had central stems. Realizing how 6 of them were just rotations of each other, that they could be merged along their stems, and seeking to design a featural alphabet, he placed them into a 4x4 place-manner chart.
The place axis was decided to have the most fundamental phones, the laryngeals, represented by the most fundamental shapes, and so laryngeals were represented by a line, dorsals by a bar, coronals by a hook, and labials by a bowl (also representative of lip-rounding. This order also makes sounds that are easier to lip-read more complex. However, it also graphically pairs coronals with labial sounds, when it would perhaps be most appropriate to pair them with dorsal sounds (as both are actuated by the tongue).
The manner-axis was decided to have the more complex shapes represent the more sonorous manners, and so plosives were decided to be represented by a line (as they are acoustically characterized by silence, and articulatorily have no gaps between the passive and active articulators), fricatives by a bar (representing the airstream created between the articulators), nasals by a hook (representing the shape of the velum), and approximates by a bowl (representing lip-rounding). This ordering also makes it very clear which sounds can and cannot (typically) be voiceless, as voiced-only sounds have rounded graphical elements. This ordering is, however, not without its drawbacks, as it pairs nasality with coronals, when it would be more appropriate to pair it with dorsals (given that nasality is caused by a lowering of the velum); and it pairs frication with dorsals, when it would be more appropriate to pair it with coronals, as the only sibilant in Theodian is coronal — but it could be argued that the coronal-nasal association is indeed appropriate, given /n/'s cross-linguistic propensity to assimilate to place, and the lack of a reasonable association between hooks and fricatives.
As for the combining of these two symbols, manner was decided to be at the tops of the shafts, and place at the bottoms, as this would make manner most graphically salient for approximates, and place most graphically salient for plosives. For readability purposes, it was decided that letters should be variously positioned on the sentential centerline according to their dominant feature, this being determined by a trumping hierarchy: bowl over hook over bar over line, with the feature highest on the hierarchy being placed on the centerline. If the two features in the letter are identical, the whole letter is centered on the centerline.
Note that these events are presented out of order here, that there were many unmentioned intermediate stages, and that many of these changes happened simultaneously.
The 9 vowels in basic Theodic are assembled by rotating, flipping, and duplicating one basic shape (<c>) and placing them into a vowel-quadrilateral. This generates a regular and schematic set of vowels, with 3 heights and 2 backnesses, with which to work (using the extended version if more be needed).
<> was one of the stable graphemes Miles came up with (as mentioned above), and he had long liked the apparent symmetry between the <>, <>, and <> runes (each being the next with an extra line). Once having finished the consonants to some appreciable extent, it became clear that these symbols' lack of a central line could fundamentally differentiate them from the consonants, thus making them ripe for depiction of vowels. <>, <>, and <> were graphically rounded to <>, <>, and <>, and were then chosen to represent /i/, /e/, and /a/, respectively. The reasoning behind having this specific association, as opposed to the inverse, follows this thought-process: (1) /i/ has the highest-pitched F2 of all vowels, and /a/ the lowest of all front vowels; (2) higher frequencies by definition have shorter wavelengths; (3) which means that <> literally looks like the F2-wave of /i/ when compared to that of /a/; (4) as /e/ and /a/ have progressively lower F2's, they should get progressively less repetitive graphemes (hence, <> and <>). However, <> was not <>, and it was necessary to decide which direction the letters were to face. Eventually, Miles settled on the modern <>, <>, and <>, as when reading them left-to-right, they open up, and these are all unrounded vowels; the flipped variants (<>, <>, and <>) were used for front rounded vowels (which no longer exist phonemically in the language), as they round off when read left-to-right. These 'rounded' variants were later repurposed for the back vowels of modern Theodian. <> was adopted for /ə/, as its being a circle was thought by Miles to be a good representation of the laxest vowel, and a good graphical middle-ground between the shapes of the front and the back vowel-graphemes. The symbol for /ɨ/ was later decided to be <> — simultaneously two <>'s (/ə/) stacked atop each other and a combination of <> (/i/) and <> (/u/) — very appropriate, because both of these descriptions are essentially accurate descriptions of the sound /ɨ/. The symbols for the back-vowels were later removed for to make Theodic less confusing when read boustrophedonically (as all letters flip along their y-axis at the start of each new line), and replaced by <>, <>, and <> — the old rounded vowel symbols rotated 90° counterclockwise. These symbols still provided something of a rounded form for the eyes when being read, and were never ambiguous with the front vowels in reading.
In early 2016, the phonemic values of the letters were, in Theodian, changed to what they are today, so as to present a more ergonomic inventory. This change, however, would have made /ə/ <>, since /a/ was now the lowest central vowel, and this arrangement struck Miles as weird, given that /ə/ is used throughout the language as the default/unmarked vowel, yet <> was arguably the most complex shape of all the vowel-graphemes. After consideration, and per their apparent roundness, the round letters (<> and <>) were chosen to represent /u/ and /ɔ/, respectively; and a new intermediate symbol was introduced to represent /o/: <> (one which had been considered, but avoided, earlier-on, due to its complexity). This had the added benefits, that <>, the symbol for /u/, was now very similar in design to that for /w/, <>; and that, when the vowel-chart is flipped along its y-axis and placed immediately below the consonant-chart, such that /u/ is placed below /w/, then /i/ ends up below /j/. The symbols previously used to represent the back vowels, were then taken to represent the central vowels, since they were more graphically rounded than the front vowels, but less so than the back vowels. This had the interesting side-effect of generating a symbol (<>) for a vowel ([ɨ]) which is no longer used in the language.
After the Theodic script was somewhat decoupled from the Theodian language, a change, which would improve the schematicity of the vowels and which had been pending for some time, was finally put into effect. The chart was changed to be divided between
+Front rather than into back, central, and front. The unrounded vowels were left the same; but the rounded vowels were now defined as the graphemically rounded forms of their unrounded counterparts. This resulted in <> and <> now respectively representing /y/ and /ø/; as well as the addition of two new characters, <> and <>, respectively representing /u/ and /o/. <> and <>, although generated by these rules, are not a part of basic Theodic; but, rather, a part of extended Theodic.
In 2019's March, the central / back-unrounded set was flipped along the x-axis, in order to make Theodic cursive a little easier to read and write. (TODO)
The Theodic script currently has 3 primary 'styles' (Carving, Reading, Writing), 4 secondary ones (Sketching, Feeling, Pinging, and Tapping), and 0 tertiary ones. The primary styles are all direct degeneracies of each other (with Carving being the least degenerate), and thus are all highly mutually comprehensible. The secondary styles are not necessarily directly derived from either each other or from the primary styles, and are designed for use in certain important niches. The tertiary styles are styles that, due to one reason or another, do not or can not express the full 25 letters of the basic Theodic alphabet.
The Carving style derives the general aesthetic of its graphemes from the Milic runes (and thus has no horizontal strokes), and is used for carving and signatures; it is considered a special and ornamental way to write Theodic.
The Reading style is optimized for reading long texts, and is the most commonly encountered style on digital apparatuses. It's considered the reference-form of Theodic.
The Writing style is a cursive and designed to be written by hand. Each syllable can be written without lifting the writing instrument, and the writer writes only in the direction preferred by ser handedness, with right-handed people typically writing BtTtB-LtR, and left-handed people writing typically BtTtB-RtL.
All 3 primary styles are used in calligraphy, but the Carving style is traditionally preferred for this purpose.
Of the 5 secondary styles, only 4 are yet complete.
The Sketching style is a shorthand and designed to be capable of transcribing speech in realtime. It is yet to be developed.
The Feeling style is a 6-dot Braille, and is the first secondary script to have been completely implemented. It is very similar in design to the standard scripts, except that the relation between sonority and graphemical complexity has been reversed (this was largely necessary, given the characteristics of such scripts). <> is <⢟⢺⢄ ⠷⠺⠠> in the Feeling style.
The Pinging style is a Morse-style code. It uses a variable bit-count to encode the letters of the Theodic alphabet. A variable bit-count was chosen over a fixed bit-count, so as to reduce the number of bits necessary to unambiguously encode information (a maximum of 4 is needed with a variable count, whereas a maximum of 5 is needed with a fixed count). Pauses are placed between letters. Bits were chosen over trits (even though trits are the norm for the language), as they are significantly less subject to interference and much easier to make (although trits would reduce the lengths of all utterances to just 3 characters). Given the unique nature of Morse-style codes, a binary search-tree was utilized to schematize this style of Theodic. Of the three ways of going about schematizing this (alphabetical, frequency, and primitiveness), primitiveness was used, as it was deemed the most mnemonic.
The Tapping style is a tap-code/knock-code. Given the nature of tap-codes, a 5x5 chart was utilized for schematization. The letters were then placed into this chart in alphabetical order, for to make it easy for laypeople to remember. The first group of dots is equal to
5(n - 1), and the second to
n; these two values are then added together to yield the alphabetical index of a letter. As the current alphabetical order of Theodic is yet tentative, the exact ordering in this chart is subject to change. A slight irony is that the Tapping style's numbers are effectively in base-five, which is essentially a simplification of base-ten; whereas the language's numbers are in base-twelve. The tap-code also has an extended form.
The Scanning style is a linear barcode based on the Pinging style, where dits are thin black bars and dahs are thick black bars. Bars comprising the same character are separated by thin white bars, and a thick white bar is placed between each character.<> is < llll llll lll lll llll lll > in the Scanning style.
|This article or section is in the middle of an expansion or major restructuring. You are welcome to assist in its construction by editing it as well. If this article has not been edited in several days, please remove this template.|
- Alphabetical order
The alphabet is ordered similarly to in Theodian, but with the addition of <>:
- Names of letters
The common names of Theodic letters are designed to be unambiguous in high-noise radio-environments. Currently, the names of the letters are, where possible, much the same as the names used in the ICAO spelling alphabet, due to the robustness of this system; but there may eventually be a native system designed, such that it is relatively mnemonic, and such that they will be minimal overlap with existing systems, like the IACP, which will facilitate system-mixing.
In the primary styles, certain graphemes can merge together to create ligatures, such as < >. These ligatures are typically only used in the Carving style; the Reading and Writing styles use only the circle-circle consonantal ligatures.
Ligatures in Theodic are always composed of two or more consonants, and are meant to graphically unify consonant clusters to make the script more visually appealing. Although most consonant clusters have their own ligature, some do not; and not all ligatures are formed in exactly the same ways.
As shown above, if any two letters present circles to each other (eg, < > / < >), then the circles actually merge together (eg, < > / < >). If the two letters present stems to each other (eg, < >), then they merge along their stems (eg, < >). Arch letters, like < >, can also merge at the edge of their arches (eg, < >). Bar letters can likewise merge along their bars <eg, >. Many hypothetical ligatures represent clusters that can't happen when Theodian is spaced syllabically (the norm), like < >; and others are even phonotactically illegal in Theodian, like < >.
Theodic has two typical ways of aligning text: flush end (vertical), and justified (vertical). Justified works much the same that it does in Latin, in that it stretches and shrinks the spaces between words and letters in each line, so that each line has an equal width. Flush end, however, is a novel alignment, and one created for the unique needs of a boustrophedon script. In flush end alignment, each line starts at the point where the line before it ended. It results in jagged edges on both sides of the passage, but even spacing, and easy eye-tracking. In Theodic, the difference between justified and flush end is slight, as the script breaks everything up into syllables, meaning that flush end will never be particularly jagged. As well, the last line in justified text is, in Theodic, flushed end.
Flush left (vertical) and flush right (vertical) are also used, but typically only in the writing and sketching styles. Here, right-handed people conventionally flush left, and left-handed people flush right.
As Theodic is boustrophedon, it is possible to start text from the top of a page, instead of the bottom (which is more common). This is useful in some lists.
Theodic does not hyphenate, as everything is already written syllabically. Words simply wrap wherever there is a space.
The following table details the punctuations used in the various styles of Theodic, providing an equivalence-table (with Latin included) and a description.
|◌||◌ ◌||For spaces between syllables**|
|◌ “◌” ◌||◌ ·◌· ◌||For literals|
|◌, ◌||◌ : ◌||For pauses***|
|◌. ◌||◌⋮◌||◌||For the ends of sentences|
- Note that most of the above symbols are currently just unicode approximations of the actual forms.
- Note also that the carving style only applies diacritics to the first vowel-symbol of a syllable.
- * The high tone is indicated by adding <⢀> to the symbol, the low tone by adding <⡀>, and prosodic stress by adding <⣀>. All feeling diacritics expand the symbols to 8 dots.
- ** This makes the orthography be, in effect, not only featural and alphabetic, but syllabic — at least for most styles.
- *** Unlike in Latin, these pauses are not syntactical; they simply indicate that there is a pause in speech at that point.
Primary stress was decided to be represented by an overline, as in Theodian it only occurs in the first syllable of a lexeme, which are more likely to have free space above them than below; secondary stress, once used by Theodian in clitics, was decided to be represented by an underline, as they are guaranteed empty space below them; and prosodic stress was decided to be represented by both, as it is stronger than either. These diacritics can also easily be adapted to indicate simple register tones. Lines were chosen over single-letter diacritics, at least in most styles, as they are more noticeable, being that they are capable of traversing multiple letters; as well as more compact (thus increasing legibility at small sizes).
A special punctuation-mark is used when Theodic is written boustrophedonically in Carving or Reading. This mark shows how the lines wrap, and is essentially an elongated parenthesis (in Reading) or an elongated angle-bracket (in Carving) that is placed relative to the centers of the lines which it connects.