My project revolves around creating a currency for the moon. Rather than creating a physical currency, I imagined the constraints of the moon, the reasons why we would have to go to the moon, and how currency should be sustainable and accessible to all. These includes constraints of the moon in terms of natural resources and air where the reason that we would go to the moon is because the earth has already become uninhabitable. Because it has become uninhabitable, we would then consider the necessity of humans to preserve their existence in the moon. Because of this need, we would then require a state system that is strictly governed to monitor and preserve humankind. For this currency, I designed it as a system that’s proposed to the forum as an informed and logical solution to being utilized in which the proposal is a social credit system. This currency is then an exchange of resources such as food, water, and shelter, for the worker’s completion of tasks which is monitored by the State. In doing so, the state of the moon would then be a safe working environment that’s sole purpose is survival. While this system is authoritarian and illogical to create a progressing civic state, it is necessary to enforce power and restrictions upon humans to work and preserve the human existence. 

As for the system, it doesn’t have any monetary connections as money is the reason of environmental devastation that caused the earth to become uninhabitable due to exploitation of industry and natural resources. sIt is also because of this imagined logic that money becomes a censored topic of this State as it is illogical to be supporting a system that caused most of the world to be erased. Hence, because of the dangers and evils of money along with the necessity of humans to become morally righteous, money is absent in this currency system. Instead, it is based on scanning the face of the member of society and checking their work progress to promote moral righteousness as well as state contributions for the healthiness of society. From all this, the society that they live in will be very centric and organized where the members of the State will also be imposed very strict schedules to promote orderliness and stability in the system. As everybody is partitioned the same food and water with the same amount of time for sleep, it will become a system in which everyone becomes like each other. This will then allow for the usage of currency in the city to be simple by simply scanning the proletarian work of farming and agriculture and the face of the members of the State to check that everything has been completed normally. 

This was inspired by novels of Brave New World, colonial America, the Communist Manifesto, and the partition system of China in the 1900s. Firstly, when I was thinking of a currency, I imagined places to which it could be applied, where, and why. The moon then came up as my destination of interest. I then researched the conditions of the moon with various sources and considered the moon my primary location for this. The most important aspect would be considering the premise for being on the moon and using currency which would be that the Earth must be uninhabitable, otherwise, there would be no point due to the costs of being on the moon. This then moved me towards research of past currency in the QUID which was a space currency revolving around a circular shape of space-grade material that would be safe to use. This caused me to evaluate many sources in which the images could all be found in the proposal presentation. As for how the texts/history influenced my idea of a social credit system, I was inspired by Brave New World’s World State that implied control over all aspects of civilians lives and had them based upon working for the state. In addition, I also considered John Smith’s quote of colonial America when the colonists were on the brink of survival being that every man must work to eat. In all of this, it inspired me to think about humanity on the brink of survival where we must only think about our basic needs rather than any economic interests. Furthermore, I also thought about the Marx’s Communist Manifesto which incorporates proletarian culture and how it could be applied to my state. Lastly, I considered the partition system of China in the 1900s where it was the State or the local village that had a communal food area that allowed for people to eat together. All of this would lead to the system that I have proposed to be incorporated in my imagined scenario. 

Lastly, the documentation of my project is a slideshow which can be found in the link. 

https://docs.google.com/presentation/d/18MhnVGG69tGLK56VEPhKLtVl6LOZ0IbL2EsvFAd19x8/edit?usp=sharing

Work Analyzed: Rain Room by Hannes Koch and Florian Ortkrass

About the Work: Rain Room is an immersive installation project revolving around falling water in a room that stops upon detection of a human body. It essentially provides humans a sense of control on nature as rain falls around them rather than on them at every point of the installation. This work has toured around the world and brought this immersive experience to many around the world. It has brought to them an experience of digital interpretation of controlling nature. 

 

Reflection of Experience

For the experience, it has two connections to the course being the manipulation of reality as well as the distancing of the individual from nature. Firstly, the project engages with the manipulation of reality in the sense that one doesn’t sense what they see and hear. For instance, while we normally feel rain falling on us and can hear it when we stand in the rain, this manipulates the experience of reality when we can hear and see but not feel. This would then boost an immersion of the experience of reality through the distancing of the feeling of reality. It is similar to the experience of eating without light or eating in the dark where the disabling of one or more senses can influence and make the focus of other senses more stronger for an immersive experience.

In addition, the distancing of the individual from nature creates a divide between reality and the fake. This sort of distancing is something that occurs to the real that we understand in rain, but the lack of experience of rain would create a psychological impact of distance. This then promotes an understanding of our reality as something distant from nature through the fabrication of the experience. Moreover, as this experience takes place in a closed setting, it allows for a closed experience of reality. It defines the boundaries of reality and breaks the laws of nature of reality to create this feeling of unrealness in the midst of reality. 

Work Analyzed: At the Door by Yanran Bi

About the Work: At the Door is an immersive installation project revolving around presenting the experience of an old Shanghai site through photos, audio, and digital presentation. This work wants to highlight home as a place of belonging, but also the abandonment of old communities where there is a division between occupied and vacant homes. Hence, this work also aims to provide the experience of the lives of the people to the audience through the audio and digital presentation which is something that could also be visited in Shanghai.

 

 

Reflection of Experience

For the experience, it has two connections to the course being the relation to the real that can be verified as well as the usage of photos and sound to create a narrative. Firstly, the project is based upon a real setting that can be verified. This creates an element of real into the project that provides it objectivity and substance, allowing for it to be interpreted as something that was created from verifiable location. Having a possible verification option would boost the overall belief of the immersion of this experience which would allow for an interpretation of it as a realistic experience that is indifferent from reality while being a framed installation piece. 

In addition, the usage of photos and sound do allow for supporting this narrative of a reality that’s sprout from a reality, namely a part of the real from the real. This essentially refers to the use of empirical evidence through photos and recorded sound. For example, all of the photos are of the real and not fabricated (through verification) which allows for this evidence to support the experience of realness. This is likewise supported by sound which was real sound from the location that’s presented which again can be verified when one goes to the actual site. Essentially, the verifiability of such a project allows for the immersion of a fake fragmented experience to feel real and wholesome due to the controlled portrayed subjects from the real experience.

Work Analyzed: Jabuticaba, Cipós, and Sapucaia by Alex Cerveny

About the Work: Jabuticaba, Cipós, and Sapucaia is a painting triptych of humans representing trees and trees representing humans to create a connection between humans and nature.  This work was to highlight nature as the root of humans, showing how trees may appear to have human forms. While the relation of nature is such, the relation between humans and nature is one that isn’t cultivated and natural as their isn’t major growth occurring but moreso there is nature that is growing around and away from humans. 

 

 

Reflection of Experience

For the experience, it has two connections to the course being the forced interpretation of a connection between the two subjects in three pieces as well as using movements to create an imagined narrative. Firstly, the project incorporates the forced interpretation of connection between nature and humans where these are the only two figures/symbols seen. This sort of forced interpretation of a connection creates an imagined connection that may not be there. For example, if viewed as an individual piece, all of the works show something about form and possibly nature, but if viewed as a whole, there is a forced interpretation of a conversation between the three works. This essentially utilizes association of proximity to create an alternative narrative that may be fiction but is viewed as intention and reality.

Furthermore, the movement of the pieces itself in the project is also something that creates an imagined narrative. For example, what is the meaning of hands being raised down and stuff growing out of it? This sort of meaning tied to movement and direction creates forced interpretations that would build more narrative behind the piece. It can also be noticed that there is something that challenges reality in the piece on the right where it grows down which is inorganic. This paradox would create new meaning as it is unorthodox and unconventional.

Project Title: 

Interpreted Zora

Part 1: 

 

Part 2:

 

Project Description

This project revolves around creating a parafiction experience of the conceptual experience of Zora. Being an imaginary city, Zora possesses the feature of being unforgettable. I wanted to create an interpretation of this unforgettableness through creating a dynamic city that continuously had the colors change to generate a sense of visual memorization to the audience. This sort of dynamic change becomes the memorable aspect of Zora where colors constantly deflect. As the city of Zora was described to be lost in time, the city should be unknown to humans, however, to explain how the city is known, the dream narrative was created. To portray the feeling of a dream, I created a video to show the hysteria and fear of this city due to the unworldly nature of it. This part of the project was meant to explain the feeling of seeing something so unworldly that it creates an unforgettable TRAUMA to the viewer as traumatic memories are more vivid due to being recalled to the amygdala. This was also presented in the presentation where Zuk was traumatized yet intrigued by the unworldliness of Zora. As the dream includes the city of Zora, it was vital to create this model of a city to show the interpretation of the fragments of memory of Zora.

The project was based on research of city models, light installations, metal wire installations, and photography narratives. I researched a lot of city model installations, in particular, Forest City by Stefano Boeri. This informed me of the overall structure and design of the piece. Furthermore, I looked at light installations by Lee Eunyeol to allow me to create a clear imitation of light of Zora. This was followed by research of Alexander Calder and how metal wires could be utilized to create certain effects, especially diffraction which will be iterated below. There was also research on Duane Michals’s Things are Queer project which creates a continuous narrative with 9 photos that interact with one another, informing my documentation as well as the video. This can be found in this link. Aside from research, there were experimentation of materials and reference to physics, specifically referring to the diffraction of light. I brainstormed a lot on materials and methods to create the dynamic moving atmosphere where lighting and metals such as wires and CD’s were the creative solution that I thought out. This led me to experiment with lighting to create an imitation of Zora which was vital to the narrative of a changing city defined by colors (and therefore light). Other than research of lighting, I also completed a lot of experimentation with camera aperture, shutter speed, and ISO to add to the narrative. These can be seen in the documentation of the project below. 

While the project is artistic and aims to create a feeling of this lost city, it’s important (in relation to parafiction) because I want to challenge the constraints of the fake being fake, the imaginary being imaginary, and an interpretation of an imagined reality as a reality. What I mean by this is that I aimed to create a fake narrative and the atmosphere of a city feel possible to the audience. While the experience may not be immersive where the audience is distanced from the piece, the space and feeling of this city is constant in providing the interpreted reality. This interpreted reality isn’t meant to feel like a reality but is meant to create the feeling of a dream and unworldliness that Zora was described as. It is to make something that was memorable like the city concept for the audience, essentially showing the audience that a memorable unworldly city could exist even if it was artificially constructed, Furthermore, it also shows how a fake can incite the emotions and feelings of hysteria and chaos while not being related to the real. This essentially introduces the fake as a real feeling for the audience where the feeling isn’t a feeling of connection, but a feeling of the city as a bystander. This feeling isn’t personal due to the nature of this city to be more distanced from society. While I could’ve created something that was a part of a real city and appeared connected to human society, the loss of a city is in essence a lost of culture. It is the lost of something stranger, of something foreign where the feeling of connection isn’t necessary as connection would then create a sense of similarity which wouldn’t make Zora memorable and unique anymore.

Documentation: The Story of Zora

Note: none of these have been edited…

Photos that tell a story… 

 

  

 

Prompt:

This reading by Jill Bennett discusses art that attempts to speak about the lived experience of others related to conflict, loss, and trauma. The author argues: “visual art presents trauma as a political rather than a subjective phenomenon.” Bennett also refers to Gilles Deleuze, who discusses the workings of affect and various emotions in relation to facts and intelligence, and emphasizes the role of empathy in such art work. Provide your opinion about her argument; do you agree or disagree?

Response:

For the reading by Jill Bennett, she references visual art presenting trauma as political and how empathy stirs emotions in people. I personally agree with this argument of trauma art being political to some extent as the notions and purpose of art is to communicate an idea to the audience, especially if the purpose of the art was to promote awareness of the traumatic event. From this standing of art as being a means of communication that stirs political beliefs and accentuates emotions and personal philosophies, I would argue that this is true through reflection upon the “globalization of fear” of terrorism, reflection of personal experience visiting the memorial site of the twin towers, and reflection of Zora; but from an alternative perspective, I will argue that such politicization ignores fragments of reality and blinds us from empathizing with certain parties (Bennett 19). 

Firstly, I would first and foremost argue that art and the presentation of events can stir collective opinions and emotions towards a certain element. For example, when 9/11 and the “War on Terror” occurred during the 2000s, there was a common villain that was created through the “globalization of fear” (19). This villain would be terrorists, but the interpretation of trauma that was disseminated, created an othering of the Middle East as villains in general. This sort of trauma wasn’t only a presentation of politics as becoming a collective and singular feeling, but it is also argued that this sort of presentation utilizes the “mobilization of binaries that fix the victim in opposition to the oppressor produces an illegitimate extrapolation by which the victim is ipso facto equated with “good” (19). Essentially this creation of the villain character through the fabricated feeling of trauma not only serves the political role of establishing and us and them through empathy and collectivism, but it also establishes a moral premise for good and bad and what’s wrong and right. This can be observed in the victimization of the US from the terrorist attack of 9/11 where their extended actions of escalating a war in Iraq and others become justified as they become the “good” side. This creation and fabrication of being on the “right” side of politics in a way removes the emotions of horror and terror when referring to the actions of the US and diminishes the role of empathy towards the “good” side of the traumatic event. Essentially, I would argue that the establishment of morality in the presence of politics creates a focus of empathy for particular events, but in effect, also conceals the application of morality when viewing trauma from the alternate perspective of the Middle Eastern citizens being razed and bombed for actions that do not concern them.

Secondly, I want to refer to my personal experience of experiencing this trauma art where I would consider the 9/11 memorial in New York trauma art. When I visited New York in 2015, I didn’t feel that attachment to the traumatic accident that occurred 14 years ago. I was someone that was a second generation immigrant in a country that promoted diversity yet instilled racism. I was someone that experienced isolation from my peers due to the color of my skin and the cultural values that I was raised by. This division of Americanism and chineseness promoted by my peers essentially created a lack of patriotism and divided identity that I experienced. As an individual, I could never erase my ancestral roots, yet the lack of belonging and community from my “American” peers created this lack of patriotism towards America and moreso created a sense of apathy towards topics related to an American identity. Hence, when I visited this memorial, I couldn’t feel the emotions others felt, I couldn’t feel the trauma and feeling of being scarred that others felt, and I couldn’t feel the patriotism that others felt. This memorial, meant to bury the memories of the people who died in history, didn’t create the feeling of trauma for me. For me, it was just a historical artifact that recalled the past. I couldn’t feel this empathy and relate to the event as others do. From this personal experience of experiencing a lack of empathy and a lack of connection to the event, I would use this counter example to argue that the resonation of emotions is crucial for creating collective empathy and emotions towards certain ideas. While the 9/11 act of terrorism created this “globalization of fear” and created moral standards of good and evil on an international level, there is a lack of empathy that I could experience on a personal level which created this lack of commonality experienced. Empathy becomes the standard for perspective and the reception of trauma art with political messages, but the lack of empathy actually creates a holistic perspective towards the fragments of reality as empathy doesn’t blind the observations of the viewer. 

Lastly, I wanted to refer to my personal project which is the creation of the architectural interpretation of Zora as well as the photography series regarding the traumatic ending of Zora. Firstly, I feel that the representation of the traumatic end of Zora through interpretive narrative photos does create a sense of politics within my piece, particularly referring to the governance of Zora. This sort of creation of this imaginary city and the records of this city create a possible attachment, however, like the previous example of going to the memorial site of 9/11, there is a lack of empathy that can be experienced due to the abstract portrayal and lack of reality of the city. This sort of disconnection between the real and the fake creates this lack of empathy and collectivism that can be felt where the audience will not think from a perspective of a Zorak. They would view it from the perspective of a human in the 21st century. This sort of experience wouldn’t stir the emotions of the viewer, but could possibly intrigue them of this possible world as it remains foreign to them. This otherness compared to the self, from the audience perspective, would communicate a sense of political illiteracy and empathetical failure which deducts the likelihood of interpreting art in a collective manner. This would inadvertently become a subjective interpretation due to the lack of connection that one can make with the subject of the piece in which trauma as political cannot be ascertain as true. In this case, I would argue that there must be a connection to the empathetic elements of a piece before there can be a political interpretation that may create a collective perspective.  

Works Cited

Bennett, Jill. “On the Subject of Trauma.” Empathic Vision. Ed. Mieke Bal, Ed. Hent de Vries. Standford: Standford University, 2005. 1-21. Print

Work Analyzed: Sala de Trabalho by Alfonso Tostes

About the Work: Sala de Trabalho is an installation work that exhibits a series of tools that represent and have connections to past uses in relation to nature. They were created using demolition wood and unused metals to create the historic atmosphere and feeling of the tools where these tools all represent an aspect of the mending, destruction, and control of nature creating the concept of the interrelationships between nature and humans. 

This is a side view of the installation that is installed on the wall. This shows the variety of tools and the details of the texture. It also shows the placement of such items. 

This is a quote from the philosopher Emanuele Coccia in which inspired Tostes to create this piece. It reflects how nature is a part of humans and nature is at the center of humankind. This refers to both the utilization of such tools, tools itself, and humans. 

Reflection of Experience

For the experience, it has two connections to the course being the relationship between fabricated interpretation of history through allusions to historical tools and the utilization of nature as authority and knowledge. Firstly, the project is essentially using fabrication of materials that appear to be rusty as a means of alluding to the memory of historical usage. This is to refer to tools as a historical element of progression of humans as well as create a sense of history for the installation itself. This essentially uses the perception of time and knowledge of time to create something to be believable as a historical tool to create this narrative of a reality. 

Furthermore, in using nature as the premise of creation, it creates a sense of authority of being objective as nature is a prerequisite for human activity. Being based upon the philosophical quote of what is human and what is nature by Emanuele Coccia, it creates connections between humanness and the natural surrounding. As nature is alluded to through the tools, the connection is established between tools as nature and humans that utilize this. This makes a stronger presentation and feeling of reality as there is applicability that can be felt from humans as a connection to history. This is due to past knowledge of history that’s passed on and remembered by people which creates this believable connection of the installation as a bridge between currently reality and the past. 

Selected Work: Istanbul, 2005

The work, Istanbul, 2005, (Apartment of Safiye Behar) intrigues me because it explores the fragility of historical identity through presentation of the character as repressed, manipulation of facts, and the assumption of reality. Firstly, I believe that the position and choice of presenting the character as repressed essentially creates this mist regarding the authenticity of identity as it overrides the schematic assumption of history that a famous person may have. When it refers to “the exposure of a previously repressed history”, it conceals the authenticity of history as something that the author provides voice to (Lambert-Beatty 53). Being someone that is provided voice and being noticed, it creates an assumed real presence which was important to create this narrative of a real person. In this sense, it was very much successful as the audience is exposed to an unknown story where the facts cannot be confirmed, but can be assumed to be true. 

This is further orchestrated in the manipulation of facts revolving Safiye where real characters such as Mustafa Kemal Ataturk and locations such as Beyoglu and Sorbonne are intertwined with her repressed narrative. Surrounding this fictional character around these real people and characters would then create a sense of truth due to the role that this character played in the narrative. For example, when she’s connected with Mustafa Kemal Ataturk, she’s introduced as a friend and possible romance subject of the leader. This sort of presentation already creates an assumed role that’s played by Safiye being a woman and a private character that’s more mysterious. Being presented as someone that’s a side character makes a successful narration as facts can be contributed to her as the reality cannot be confirmed, but only assumed. This is more presentable as it there is a video interview of the grandson of the Safiye, Melik Tutuncu, a Chicago architect. This presentation not only confirms her existence, but provides evidence of a family lineage which creates familial evidence of existence. Even after showing this evidence, the author talks about what happened to the rest of the immediate family who died from a “freak accident” (53). This deletes possible inquiries that people may have on sources of knowledge to confirm this person’s existence and the reality of the claims. It essentially creates the sensation that Safiye was “real” because of the sources of knowledge provided.

Lastly, Safiye being able to be “real to me [Blum]” is the assumption of reality factor that contributes heavily to the success of this narration (53). In order to formulate a parafiction narrative that’s believable, it’s important for the author themself to believe this reality. In this sense, being able to be a part of this world where Safiye exists would contribute to this believable narrative as one is essentially intertwined in the two spectrums of existence. Not only can this be seen in Blum’s narration and project, but this sensation of existence, reality, and the true reality can be observed in movies such as the Truman Show in which Truman is a part of a set reality that he believes to be the true reality only to find the actual truth. By utilizing this example as a connection or mirroring of Safiye’s existence, Blum essentially assumes the current reality is one that includes Safiye. The portrayed perspective of belief would contribute to the reception of belief from those that view this work. To simplify, the act of personal belief in a narration is crucial to success as a whole as confidence can either make or break the narrative due to its fragile nature. 

Works Cited

Lambert-Beatty, Carrie. “Make-Believe: Parafiction and Plausibility.” October, vol. 129, 2009, pp. 51–84., https://www.jstor.org/stable/40368563.

Weir, Peter, director. The Truman Show.

Project Description

Brief

The project revolves around creating a narrative regarding the city of Zora to make the city believable, in which the language was the core of the narration. What is the city of Zora? Zora is a city created by Zor, the color god, that explores the paradox of time due to the Zorak’s failure of obeying Zor. It’s described as a city that none can forget when they are there, yet at the present, it’s a city that none can remember. This paradox of detail is due to the passing of time that has occurred where the city has been destroyed by Zor and is lost in the memories of people rather than a physicality of memory. In this sense, the city of the present is empty and only exists in the psychological sphere of humanity. While it is empty today, Zora did have an existing language called Zoran, revolving around colors and shapes that characterized the city. Zoran, being of colors and shapes, represents Zor themself. Rather than being a hieroglyphic or alphabetic language, Zoran is based upon color and shapes resembling Zor, the color god. This sort of usage of color as language, becomes a remnant of Zor that’s ingrained within the language. This is important because the sole reason that Zoraks were created were for the purpose of creating a word in the language of colors and language for Zor. In this case, Zoran becomes something constructed by the god Zor to construct the word Zor. Being a colorful spirit without form, creating a form of a word for Zor would be the intended purpose of Zoran. Of course, the city being created by Zor already represents Zor in color, thus it is nicknamed the City of Colors where the language construction and representation there is meant to shows the colors of Zor.

Research

The project has theoretical research revolving around linguistic theory and understanding of language, but deflects from norms of hieroglyph, characters, and alphabet for a language. That is to say that the research that was completed was more regarding the reception of the language, language structure, and universal languages rather than research regarding a certain type of language to inform my language.

Noam Chomsky’s Theory of Universal Grammar

One research that informed my language would be Noam Chomsky’s Theory of Universal Grammar which essentially is the theory that humans biologically can understand language in the same manner as children in all cultures are capable of learning language. It discusses how there is essentially the same language components in all languages with nouns, adjectives, verbs, and etc. Hence, the inspiration I attained from this research would be the language structures of all languages being that they have nouns, adjectives, verbs, and adverbs and attributed this language structure to Zoran.

From this, I embarked on my next step which is to consider universal languages that are utilized by the entire world. This led me to research more about the language of mathematics. For mathematics, I reviewed mathematics linguistics as a typed language to understand how it uses formal logic to communicate knowledge cross-culturally, focusing on symbols and notations within this language as a means of communication. Symbols such as (, {, <, [, }, ], +, -, and etc. are part of this typed language which is understood around the world. 

Furthermore, I looked into more basic and elementary components of language being language as sound. This would essentially be the language of music which has a set of notations for music, but also has cultural significance through the sound waves and tones emitted. For example, music as a tone is the simplest communication that occurs. While the interpretation of this language may differ, the sound created can communicate certain ideas to the audience which are universally accepted. Even simple aspects of music such as major keys and minor keys are universally understood components of music which communicate more happy or sad tones. But what is the purpose of creating a language that revolves around sound when all language revolves around it?

This led me to my third and final research component being color theory and the communication of colors cross-culturally. Color in the most practical manners is light reflected or absorbed. To communicate with color is to utilize light spectrums. While I didn’t consider utilizing the technical aspect of light in relation to color for my language, I focused on the communication of colors in cultures being that red is seen as a lucky color in China and white meaning death while in European culture, red means passion and white purity. While there is a difference of meaning, I received the inspiration of color as a language in which I built Zoran upon.

Context and Experience of Language

Zora and Zoraks, being constructed by the Light of Zor, are harmonious bodies with one another in which the experience of language usage and comprehension is interconnected. Firstly, the design of the Zoraks is that they themselves have tools for creating the shapes for communication while they can also understand the color being communicated by the eyedropper tool that is designed upon them. In this sense, the ideal way to experience this language has already been shaped through the design of the characters that utilize it as design is based upon the users. When the users are communicating they can create shapes in relation to their sentence structure and reference of relation which can easily be understood by other Zoraks due to the design of the Zorak. Thus, the best way to experience the language is to be a Zorak. If you aren’t a Zorak, the language would be difficult to understand, however, with the help of Photoshop and Pantone color references, it may be easier to experience this language. This language for a human would need to be communicated through digital means to properly create the color for communication.

Reflection

Reflecting on the overall design of the language as well as the feedback received during the presentation, I believe that I did well on the conceptual presentation of the language and how it operates with relation to conversation between Zoraks. For example, the components of the language structure (nouns, verbs, adjectives, and adverbs) are all represented through the shapes. In addition, I categorized the types of nouns, verbs, adjectives, and adverbs to aid in the communication and usage of this language so that it isn’t random. This is something that I did well on. Furthermore, I think that the concept of the language matches the explanation of the people in Zora very well as they are said to be the most learned. Having such a language based on the connection between slight deviation of tones of colors and memorizing this connection would portray this concept reflecting the city. As for the weaker aspects, I agree with the feedback that my language should be more organic in terms of shapes to define nouns, verbs, adjectives, and adverbs as they are currently all geometrical. This would enforce the non-human aspect of my city more as it is inhabited by Zoraks, not humans. Other than that, I am very much satisfied with the language created.

Project Slides

For the create a language project, slides were created to present this idea.

Language Usage (Part II)