Don’t mistake phonetics with phonology, phones or phonemes. Not to mention the phonetic inventory. Also, no, IPA isn’t a kind of beer, it’s the International Phonetic Alphabet.

I guess I’m writing a linguistics for dummies dictionary now.

Diving into Mark Rozenfelder’s The Language Construction Kit. I remember ending up on several times over the years, but it always felt awfully complex and daunting. Now, for some reason, it doesn’t.

I guess it becomes much more accessible when you take all the time you need to look up linguistic vocabulary and put everything in a wiki along with your notes on the language you’re trying to create.

Conlangs are all fun and laughing until you open a spreadsheet and realize your fancy logic works half of the time, turning half of your compound words system into nonsensical garbage.

Then the real fun begins, because years of spreadsheet use have turned you into a masochist anyway.

While the Sapir-Whorf hypothesis, which states a language defines how its speakers understand the world, has been discussed for decades, it becomes obvious that, in a language with very few words like , adding or removing a word, or even ordering the priority of its meanings, has a big impact.

What if my language has no word for money, death or conflict? These concepts would still exist, but feel alien, and could only be expressed through workarounds. Poetry, maybe?

I'm thinking my conlang might use plural by default, and only allow the notion of self as temporarily frozen parts of an ever-evolving system. It would make sense if the grammar is focused on the concepts of past and future. Not to mention, in this decaying age of late capitalism, I'd like to avoid any emphasis on individuality and explore the interconnection of all things instead.

I don't want any masculine or feminine gender in my conlang. But I'm thinking I may add some to imply past or future states.

So a friend could also be lost, or in the making. Knowledge could be a memory, or a skill being studied. Or I could refer to my former self, or what I could possibly become.

Cyclic properties could also be explored. A friend you see regularly but rarely. A lesson you keep forgetting and relearning. Yourself, struggling to self-iterate and evolve.

Pushed the latest update of my dictionary to SourceHut. It cracks me up to be using such a complicated versioning system for a single HTML file and a bunch of emojis, but I suppose it could be useful to someone, and it's kind of cool to pretend to be a real developer, I guess?

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Today I woke up and started to work on my own conlang. Okay, brain, that's fine by me.

More about this later, but I'm aiming for something dead simple (likely quite close to Toki Pona) with a focus on time and cycles. Something I can use as a mental framework to help me figure out how to better live in the now and explore thought patterns related to the so-called flow of time. Something that makes the future look more fun.

Am I making one-hour-long ambient tracks now? Yes, apparently. I've discovered a forgotten hard drive full of nothing, and filling it with massive audio files recorded by myself sounds like a great idea.

Every single time I try to make music in a specific genre, I end up doing something entirely different. Apparently, I'm now making some kind of glitchy lo-fi hip hop with a retro synth vibe. Go figure. I'm having a lot of fun though.

My new album is almost ready, but I can't decide if the Bandcamp featured track should be the first one, which is nice but very short and followed by a long experimental piece, or the fifth one, which is probably more representative of the whole album, but is also, well, in the middle.

I mean, I'm not sure if I want people to jump straight to the second half of the album, it doesn't really make sense. I'm probably overthinking this...

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Time to stop messing around with my various tracks and attempt that full album mix. I think I'll just approach the whole thing as a bigger track made of long samples. Technically, it's nothing more than that... I just hope the process won't show me the tracks with a different perspective and make me hate them.

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Plot twist: I don't like a couple of tracks, and I have more ideas for more tracks. So, maybe releasing this album will take a bit more time than expected. But it's freaking great that the juice keeps flowing!

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Agonizing over whether I should mix all tracks to make them fade into each other, or keep them all separated by silence.

A full mix would make sense, we're clearly in ambient territory with long drones, and silences feel like interruptions. It would in fact be the same process I followed to make the tracks, but at a higher level.

The only reason I wouldn't do this is that I never did it before, and it may be harder than I think, but it's in fact one more reason to do it, right?

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I've managed to kind of accidentally make a new album. Which is nice, since I haven't released anything substantial in years.

It's only 35 minutes long, it's full of fat drones and mangled steel tongue drum, drowned in glitches, reverb and delay, everything has been patched together somewhat randomly with even more randomness, yet it feels, I don't know, wholesome?

Maybe I'll hate it tomorrow. Not sure when I'll release it. For now, here's the cover art.

Yesterday I recorded three short ambient tracks, today I recorded various parts for a RAV Vast song, and I'm in the process of recording more ambient stuff. Not to mention my daily job.

I'm still not satisfied with my creative output. I suppose it's a good thing, since I'm eager to do more without feeling forced to do it. But it's pretty weird.

I’ve managed to find a second-hand Cosmos and I can now listen to lovely evolving drones all day long. I can’t think of any description more suitable than "drifting memory station". Instant ambient no matter the source. Expect a few hour-long tracks in the future.

Funny how you can feel like shit for months and do pretty much nothing, then all of a sudden you realize you’re making music all day long for no reason and feel astonished by your progress.

Maybe it’s just spring coming after winter, maybe it’s just that refining ideas takes time, maybe it’s something else. Creative processes are weird.

Here's some "minimal lofi steel tongue dub techno" or something like that. I like building beats around shitty RAV Vast recordings. It's broken yet mended, analogue yet digital, soft yet harsh, somewhere between two worlds. I've only added a kick and a hihat, everything else is live with a bunch of effects but unedited, even the brush-like sounds my hands make when gliding between two notes.

It's rough, but it brings me solace, in a way. Maybe I should make an album.

I've been practicing the RAV Vast a bit more lately. I've reached a point where I'm happy with my progress, but simultaneously frustrated by the difference between what my hands do on their own and what my brain manages to analyze.

I'm increasingly more aware of this strange duality, and I have no idea how to balance it, or even if I should. Who would have guessed making a double wok sing by slapping it and trying to bend it to my will and emotions would be hard, eh?

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