The Sandorian Grove: Project Summary 2: UrTon - the basis of spoken languages    
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picture22 Sep 2016 @ 16:12, by Max Sandor

by Max Sandor

the basis of spoken languages

Short Description
A theory on the formation of languages from a single and structured principle.

It is proposed that language can be seen as an intonation of energy patterns which are inherent in the Universe. Variations of these sound patterns in human language occur when humans divide themselves into cultural groups. Over time, the location of pronounciation of sounds changes within the local tract, leading to shifts in vowel and consonants which then become typical for a particular human culture. With the rise of civilization and the division into social groups, memetic reframing occurs, leading to semantic changes of a substantial number of key words. Some of these changes can become neutralized by the applied human language gravitating towards the original character of the energy patterns of the Universe. In today's languages we see a 'mix' of these developments. For this reason, prevailing theories of the origins of language each have certain truths in them but cannot be reconciled without a common platform such as UrTon.

-During the 1960's I assisted in a project of catalogizing the philosophical works of the Grimm Brothers [1] [4] and was first exposed to the questions of whether all languages have a common origin or not, how to interpret rune inscriptions, and the role of the "old-high-german" language within this framework.
- From 1976-1978, as a student, I created the first computer-only program to implement PARCOR spreech recognition algorithms at the Research Center of German Telecommunications (DBP) [2].
To investigate the potentials of mathematical speech recognition for the determination of qualities of a speaker, such as age, gender, ethniticy, and emotional state, I compared the formants of a selection of speakers in various languages, at various emotional levels, and of different ages.
Even though there were certain patterns discernible, time and resources did not allow to. It was obvious to me at that time, that
- In the 80's and 90's I tried to consolidate a structure common to all languages in the ConCur Paradigm [5], a research project to simulate all aspects of reality.
- at the end of the 90's I found the classification system of Ifá [6] and started to integrate sound patterns into this matrix of principles called Odu.
- Beginning in 2008, with access to the literary heritance of Luís Caldas Tibiriçá [3], I consolidated the theory with practical examples, drawn from more than 50 languages and 250 dialects.
- By 2014, while there are still many details to fill into the gridwork of sounds, a stable platform had been formed.

Classification of root words and their meanings
(For the following we have to disregard the often arbitrary ways that words are spelled in written language and focus on the way they are pronounced by common speakers. We will also disregard words compised of several independent words, such as "kindergarten")

Words can be:
1. stand alone sound patterns we shall roots like engl."I", "eye",
2. pseudo-composites or composites that are embellished roots like engl. "me", or roots modified by pre- or suffixes, such as engl. "mine, thine", and
3. 'true' composites, like 'mother'. (Note, that it can be argued that all those words could be broken into parts such as to arrive at pseudo-composites).

There are few stand alone and true composites words. The vast majority are composed of roots which have been generic modifier added to them to indicate its attributes as, for example. direction, size, and ownership.

The Nordic runes alphabet called the Younger Futhark ("die Male") and the Ifá system of the so-called "I-Male" can be matched congruently and through this association we can allocate energy patterns to language sounds.

With this, we have sixteen proto-sounds. In the following list, the numeric value is followed by the Ifá name and code, the rune name, and, where applicable the Solfeggio name. All Ifá names are coded names, so are some of the rune names. The solfeggio names are one of the few remainders of the rune system after the eradication of all things 'runic' by the Roman forces. Many runes have been compromised in meaning and application. The English equivalent sounds are not exactly the protosounds (for which there are no letters) but rather the closest approximation possible.

8. Ogbe (1111 - hagall)
'g' like in 'great': solid, all things great or special. See variations and example below.
2. Oyeku (0000 - úr)
'ur' - 'u' like in 'cool': gaseous, potential, ancient, yet unseen, possibilities
5. Oshe (1010 - sh - SI)
'sh' like in "she": fluid, female, beauty, synthesis
10. Ofun (0101 - fé - FA)
'fa' like in 'father': colloidal, male, chaos, cause. Softened forms are 'v' and 'w'.
12. Iwori (0110 - yr)
'(y)r' like in 'nerd': expansion, space, heaven
11. Odi ((1001 - odin - DO)
'd' in 'doll': contraction, mass, Earth
4. Irosun (1100 - Thurs)
'th' like in 'thursday': energy, impulse, fast. There are various important sub-sounds in the irosun sub-class, all 'explosives', such as 'p'- destroy, 't' - insist, confirm, 'z' as an explosives - similar to 'p'
7. Owonrin (1001 - reið)
'r' like in 'Carol': time, slowing, settling
6. Obara (1000 - björk)
'b' like in 'boy': being, bearing. See example below.
10. Okanran (0001 - nauðr)
'n' - like in ´no': awareness, depth. See below for variations.
3. Ogunda (1110 - isa - SOL)
'g' like in 'gun': steady, anchored, firm. See below for variations. Alternatives: 'is' (exists, located), 'er' - male suffix
9. Osa (0111 - lögr - LA)
'l' like in 'lake': balance, unstability. See also below for notes on variations.
13. Ika (0100 - kaun)
'k' like in 'kill': (un)creation, life and death
14 Oturupon (0010 - týr)
'yr' like in 'tyrant': power, will. See example below.
15. Otura (1011 - sig - MI) :
'm' like in 'mother': love, self, identity, ownership. Note: the rune 'sig' has been heavily compromised.
16. Irete (1101 - ár - RE)
're' like in 'reality': (free) choice. See example below.

Vowels as directional indicators
In Urton, vowels are seen as modifiers which provide a directional sense to root word. They can also used as pseudo-root words for themselves, like in engl. "I".

a = affirmation, having
e - exclamation, existential
i = inside, inbound, input, self, self-reflexive
o = outside, outbount, output, other(s), elogy
u = under, negative

'i' can substitute 'e' in which case it is a general vowl shift and not limited to just one word. Such a vowl shift points to ethnic characteristics, meaning the self-perception of its speakers. This is a sensitive and delicate issue which is difficult to discuss without provoking controversies.

The remaining sounds that constitute modern languages
Sounds that are not in above list, are either derivates or variations of the above. Their are for the most part inituitively recognizable and allocable. In the cases they are not, they will vary from culture to culture but they will normally be traceable to fit into the scheme of UrTon. Until now, no sound of human languages has been identified that would not fit logically into this classification.

Here are the most frequent sounds that are not explicitly part in the basic Futhark/Ifá matrix:
V, W: are variations of 'f' (Ofun), a labial sound
p, t, (hard) z & c: are 'dental explosives' from the Irosun ('th') class
j, y: variations of the 'i' directive
Note x: like in 'vax': is 'k' followed by a 'z' and is not a single-sound pattern.

Multiple features of 'n'
Most often 'n' an indicator for a manifestation in space, for example, 'i-n' denotes an inside space. But is can function also as a 'negator', such as engl. 'no'. This double-feature is reflected in the Rune symbol which can be 'X' or ' ', meaning either crossing out or extending something. As a suffix it points to a consciousness and sometimes shifts towards 'm'.

Various sounds of 'r','s', and 'g'
The basic 16 sounds of the UrTon concept have a surprising variety of 'r' sounds. This is because the 'r' sound has a large variety of sounds packed together into one letter. Each of the sounds is very distinct which becomes clear when looking at the its formants which are fundamentally different for each version of what we summarize as 'r'.
Similarly, 's' can be soft or hard and those are very much different sounds. The formants of a sustained 'soft-s' are typically indistinguishible from an 'l' sound.
'g'like in Ogbe (1111) is very similar to that in Ogunda (1110) and this similarity extends to their rune symbols. The 'g' is more general, global, and harder and guttural in its pronounciation, whereas the 'g' in Ogunda is more in direction of grounding, centering, and anchoring, and is palatal.

Gender of speaker and sound formation
The formants of the voice prints of female speakers are generally not distinguishable from voice prints of children. Both are very different from those of male speakers. Additionally, some languages have different suffixes for genders that accommodate some aspects of this phenomenon. Typically, those sounds for female speakers gravitate towards 'a' and 'e/ae' and for male speakers towards 'o/on'.
These differences could be explained with the qualities of the 'a' and 'o' vowls but, similar to ethnic considerations, a discussion may be provocative for some.

A few key examples
The following are very brief notes which, once expanded, would fill books.
Oba - ahd. 'mayor', yor. 'king', germ. 'ober', engl. 'over': 'O' indicates a male, high, or great item outside the speaker, such as a prefix for a superior (person) or a higher location. The suffix 'a' denotes 'stability' or 'located' to indicate a permanence to the concept. As one example of how to apply it for further words:'Obey' from the listener's perspective an exclamation ('e') followed by a pointer to oneself, hence the connotation of a command originating from an authority (Oba-e-i). This is one example where it doesn't matter how the derivation of an original construcht arrived here over time but the meaning of its intent communicates subliminally.
Erde (germ), earth (engl) - '(y)r' plus 'd'. The shift from ending 'd' to ending 'th' has both ethnic as linguistic implications. The original concept is that of Iwori Odi ('heavens' and 'earth-ground' and is identically in Chinese. Likewise expressed in its runes, the components are seen as pairing opposites. Like it exponents, sun (UrTon 'what is extending upwards') and sol (Ogunda), what comes from below, has been subject to memetic swapping in latin languages. 'sol', as in engl. 'sole', became the 'sun', earth became "t(i)er-ra', ("the ground (land) which is governed"), and 'mond', engl. moon, became the world 'mondo'. the 'moon', in turn, became 'luna', in UrTon "a shifting (unstable) consciousness".
'Power': a compound of 'p', 'to kill', and '(yr) 'space' - the ability to kill (a property of a slave master in antiguity).
'Reality': that which is established ('-ity') as 're-al': 'put there by choice', an attribute of sovereigns, usurped by the 'royal' ('re-al') people in antiguity.

[1] Brothers Grimm
[2] Research and Technology Center Darmstadt (FTZ)
[3] Luís Caldas Tibiriçáís_Caldas_Tibiriçá
[4] Brüder Grimm Museum Kasselüder_Grimm-Museum_Kassel
[5] The ConCur Paradigm
[6] Ifá as philosophical system

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