The following draft text derives from The Lingua-U Sutra, one part of Lingua-U: The Unitive Metalanguage (forthcoming in 2019). It is intended to help readers of this blog to better understand some of the unique terminology associated with metalinguistic discourse.

X. The Thrones

There are 81 different tetragrams proposed to be called Thrones in the metalanguage. So far, the symbols we have seen all correlate to phonemes. But with Thrones, the most important symbols for some key Lingua-U applications, phonetic reference is diversified. There is not just one “right” way to relate a Throne to sounds; this correlation can be done in different ways.

The three most common ways have names: the Descending Style, which follows the pattern Principle + Letter; the Flowing Style, which follows the pattern Element + Element, and the Returning Style, which follows the pattern Letter + Principle.

Example:

𝌰 ix (Descending Style), ə’æ (Flowing Style), qaɪ (Returning Style)

It is acceptable to refer to a Throne with Principle + Principle + Principle + Principle combination, or Principle + Element + Principle combination, or another variation. However, these pronunciation styles are unnamed at this time.

Each of the Thrones is given a Name which is specified in The Kernel. If, upon scanning the Names of the Thrones, you perceive that there is an orderliness or story-like aspect to the Names when viewed as a whole set, in their specific order, you are correct. Together these Names tell stories about the Way Things Are And Could Be. The stories that are told using the Names of the Thrones are sometimes called Kosmologies. They may function similar to mythologies, but they are not based on metaphysical pictures so much as metagrammatical stories built on a larely postmetaphysical edifice. That is the intent.

XII. The Seats

The Seats are proposed as the pentagrams in Lingua-U. The Seats are useful in several different applications of the metalanguage which we will discuss shortly. In Jai’ai Lexicon, the Seats define the essential articles, pronouns, and word suffixes. In the AQAL interface, the Seats describe both Lines and Zones, depending on how they are called by the interfacing speech.

As with Thrones, pronunciation is more diverse than with the simpler figures. Seats are depicted with the character for Throne plus a Principle to its right.

Example:

𝌲⚊ ijaɪ (Boomerang Style), ər (Cascading Style), (Returning Style)

When Seats are correlated to sounds in the Principle + Letter + Principle fashion, we speak of the Looping Style; the Element + Letter fashion is the Cascading Style; the Letter + Element fashion is the Returning Style.

Like Thrones, Seats are also woven into a Kosmology or other forms of storytelling. Within each Letter, there are Nine Seats which are given a standard set of Names which repeat for every Letter. These Names are: ⚌ for the Seat of Basis, ⚎ for the Seat of Interiority, 𝌂 for the Seat of Goodness, ⚍ for the Seat of Structure, ⚏ for the Seat of Concern, 𝌃 for the Seat of Motion, 𝌁 for the Seat of Actualization, 𝌄 for the Seat of Outwardness, and 𝌅 for the Seat of Consciousness. In the Example above, 𝌲⚊ has 𝌁 for its last two marks, giving it the assignment of the Seat of Actualization.

XIII. The Punctuation

In this proposal, the apostrophe (‘) is used to represent a pause or stop or break, usually between two vowel sounds. Some languages such as Hebrew, Arabic, and Navajo call breaks a letter, and linguists consider the glottal stop a consonant; however, pauses are considered punctuation in Lingua-U and not counted as among the 39 symbols of the Alphabet. The period (.) may be used to indicate a break between marks and the double period (..) indicates the end of sentence. The underscore (_) is used to indicate omitted marks. The colon (:) is used following a metaword to indicate the presence of a suffix. The apostrophe (‘) is used to separate vowels for the sake of easier pronunciation.

Example:

⚌⚊.⚋ 𝌪𝌁.. corresponds to “Be good.”

In this example, the single period indicates that the preceding marks are to refer to the most expansive possibiliity (in this case, making ⚌⚊ refer to the Letter B. Without the two periods, 𝌇 would be used, a symbol which can be pronounced in several different ways such as eɪ’ɪ.

Other than indicated above, punctuation is not standardized in this proposed schematic; therefore, a variety of punctuation marks from different languages may be used with various Lingua-U Applications.

XIV. Character Encoding

All of the proposed symbols used in Lingua-U are available for use on computers as part of the Unicode standard. All but two of them are found in the “Tai Xuan Jing Symbols block” of Unicode 2.0. The symbols for Yin and Yang Principles can be found in Unicode’s “Yijing monogram symbols block”.

Some electronic messaging systems do not recognize the IPA characters used for Lingua-U. For communications in such media, the number 0 may be substituted for Yang, 1 for Yin, and 2 for Yung. Alphabet characters may be replaced as follows: ai for aɪ, ei for eɪ, oo for ʊ, eh for ɛ, a for ə, ae for æ, th for θ, dh for ð, sh for ʃ, zh for ʒ, ch for č, ng for ŋ, and wh for ʍ.

There are other times when the standard Lingua-U characters or alphabet may seem not best suited for a particular purpose or audience. In such cases, the older linguistic symbols may be used and intermixed with this character set.

In the future, Unicode should be updated to include new codes to better symbolize the Lingua-U Letters, plus other symbols as well. However, we have opted to stick with the symbols available for public use at this time so that Lingua-U users may rapidly begin to appropriate the new metalanguage.

XV. The Masters and Other Glyphs

A glyph is a term for sets of symbols in Lingua-U. Names are proposed for significant glyphs with six, seven, eight, nine, and 10 marks apiece.

  • Groups of six marks (Throne + Element) are called Masters.
  • Groups of seven marks (Throne + Element + Principle) are Adepts.
  • Groups of eight marks (Throne + Throne) are known as Allies.
  • Groups of nine marks (Throne + Throne + Principle) are known as Consorts.
  • Groups of ten marks (Throne + Throne + Element) are called Courses.

Although the nature and function of these symbols are not formally defined at this time, some of these metawords may begin to be used tentatively for beginning students of Lingua-U during the time when the metalanguage is being evaluated for safety, effectiveness, and compatibility of Applications.

XVI. Stations

Stations (§) are an essential part of the proposed Kosmology of Lingua-U and its companion Applications. As we have previously noted, there are 1,092 Stations in Lingua-U’s core schematic. This essential set of stations is called The Lingua-U Kernel. It includes the Principles, Elements, Letters, Thrones, and Masters (but not the Adepts or other, more complex symbols).

A Station’s definition depends on the Application in which it is embedded. In the Kosmology, the standard for describing the core symbols of Lingua-U by Name, Stations are regarded as an ArcheStation, which is similar to an Ordered Archetype, intended for use by community of Lingua-U practitioners. The Stations’s Meta-Maps cascade or emanate or flow from a Triune core – the Principles – and then expand in involvedness from there. They become more highly complex, from one standpoint, the view of evolution; or they become more deeply involved, from another standpoint, the view of involution.

Stations are numbered according to pairs of Principles, with one number for two Principles. Thus, the Elements are the first units to be represented by a single number. There are nine Elements, and each is described by §1, §2, §3, etc. Now let’s back up to Principles. They are described as a range of Elements. Thus, Principles are denoted with §1-3 for Yang, §4-6 for Yin, and §7-9 for Yung. The Principle enfolds or includes its subsidiary stations; or, the Elements emanate from or are involved as part of the Principle.

The Letters, like the Principles, are depicted as a range of subsidiary stations. B is §1.1–3, P is §1.4–6, V is §1.7–9, and so on. And the Thrones are §1.1 for Biology, §1.2 for Being, §1.3 for Balancing, etc. The Seats, like the Principles and Letters, are also depicted as a range. The Seat of Beɪ is §1.1.1–3, the Seat of Bɪ is §1.1.4–6, and the Seat of Bʊ is §1.1.7–9. It is only appropriate that Masters, like the Thrones, are depicted without using ranges. Therefore, §1.1.1 is BB, §1.1.2 is BP, §1.1.3 is BV, etc.

If conflicts seem to arise among Applications, the community of practitioners is invested with the authority to redefine parameters as needed. Parameters include any aspect of Lingua-U or its dependent Applications.

XVII. Metagrammar or Metaphysics?

Ontology is the investigation of the basic categories for being and their relationships to one another. The various schools of philosophy disagree about the priority to give to subjects or selves and objects or others/collectives, and some schools seem to deny the validity of ontological inquiries altogether, purporting that nothing can be known with certainty. A variety of 20th-century thinkers have attempted to move beyond metaphysics into postmetaphysics. Broadly speaking, the movement to totally jettison metaphysics has been unsuccessful, but many intellectuals have succeeded at articulating worldviews which attempt to minimize the need for speculative assumptions while maximizing areas of agreement among seemingly irreconcilable viewpoints.

Lingua-U enters the conversation with philosophy not as a metaphysical offering, but as an Integral Konstruct (or a worldview-integrative construction of a particular sort) intended to help focus the work of individuals by creating new possibilities for human existence within a community of its users. Broadly speaking, the endeavor seeks to reimagine an indigenous spiritual and philosophical standpoint and make it relevant for all cultures in today’s world, including the modern secular West and the dominant Abrahamic religions. Pioneering users of the Unitive Metalanguage and its Applications including the proposed Jai’ai language are therefore the ones who will help to shape the UM’s [unitive metalanguage’s] philosophical self-understanding. The possibilities are particularly rich and fraught with complexity in the area of Divine Names and sacred terminology in general. For example, the December 21 PM station of Lingua-U is Metaword No. 728. 𝍖𝌅, which includes the phoneme yaa’u, and is given the Example of “Yahweh”. But this is not the only possible Example. The name of the Buddhist god of death, Yama, also may be described by this station (when pronounced in one possible way). Other Examples include Yule, You’ll, and Yūyam (the Sanskrit second-person plural nominative pronoun).

Individual practioners must discern for themselves how to regard the remarkable synergies and synchronicities and correlations in Lingua-U. Nevertheless, we invite the potential users of Lingua-U to step into a new thought-horizon which acknowledges each of the Great Traditions and each of the Languages of the World as having its own Unique Gift. Together they may war with misapprehensions of each other’s meanings, or they rise up to a higher degree of interconnectedness which affords them the grace to let go of past limiting metaphysical ideals and embrace the possibility of a metagrammatical auxiliary.

XVIII. Metawords and Marks

A Metaword is a distinct Station (one of the core or undefined areas) which is put into use. Marks are positions in the structure of a Metaword when read from left to right. The Lingua-U Kernel is concerned with the first six marks of the Metawords, their significance, and ways looking at their relationships.

The Mark of Tier

The First Mark is the most fundamental expression of a Metaword’s sound-meaning and other connotations. Yang (⚊) in this slot is the First Tier, Yin (⚋) is the Second Tier, and Yung (𝌀) is the Third Tier.

The Mark of Column

The Second Mark helps to distinguish the essential aspects of a Metaword’s significance. Yang (⚊) in this slot is the First Column, Yin (⚋) is the Second Column, and Yung (𝌀) is the Third Column.

The Mark of Letter

The Third Mark adds heterogeneity and differentiation to the more fundamental structures. Yang (⚊) in this slot is the Letter Process, Yin (⚋) is the Letter Sociality, and Yung (𝌀) is the Letter Activity.

The Mark of Orientation

The Fourth Mark signals the arrival of words capable of orienting a worldview through common words. Yang (⚊) in this slot is the Signal, Yin (⚋) is the Response, and Yung (𝌀) is the Reconciliation.

The Mark of Substitution

The Fifth Mark signals the arrival of words capable of substituting complex objects for one another. Yang (⚊) in this slot is the Forming, Yin (⚋) is the Shaping, and Yung (𝌀) is the Networking.

The Mark of Majesty

The Sixth Mark signals the arrival of words capable of forming a useful language for fruitful cultural interactions in complex, contemporary societies. Yang (⚊) in this slot is the Yang Master, Yin (⚋) is the Yin Master, and Yung (𝌀) is the Majestic.

XIX. Archetypes or ArcheStations?

As we have defined Stations as ArcheStations, a sort of Ordered Archetype, it is vital that we address the topic of Archetypes. This is a topic more complicated than we can handle in this Book, but we will make some general remarks. At Dictionary.com, the given definition of Archetype is:

noun 1. the original pattern or model from which all things of the same kind are copied or on which they are based; a model or first form; prototype. 2. (in Jungian psychology) a collectively inherited unconscious idea, pattern of thought, image, etc., universally present in individual psyches.

First, we note that an Archetype is a noun. In contrast, an ArcheStation exists as a hybrid part of speech, both noun and verb simultaneously. Secondly, we find the definition of Archetype mostly satisfactory, except for the term “original”.  The notion of originality suggests an object which is already existent. This does not account for the way that development unfolds not from merely from original patterns but also from subsequent emergent patterns. In fact, evolutionary emergence often comes breaking in from the future, not the past (a fact that sometimes seems counterintuitive, but it has a solid basis in quantum theory). Therefore, we must amend the definition of Archetype like so:

noun/verb 1. the original or emergent or future pattern or model from which things of the same kind are copied or on which they are based; a model or first for; prototype.

With this revised definition, we can specify that a Station is a sort of Ordered Archetype – an Archetype which exists within a framework or schema of holistic significance, such as a mandala, yantra, tarot, zodiac, calendar, and so on. An ArcheStation is not exactly found in nature, simply by observing the extant symbolic ordering systems of the world. Instead, an ArcheStation is:

noun/verb an Ordered Archetype based on an architected design selectively incorporating features and elements of previous Ordered Archetypal systems; a meta-active model; a meta-active prototype. By “meta-active”, we mean that it is useful for constructing stories and applications of synergy, inclusivity, wholeness, consciousness, medicinality and wellness. synonym: Station (§) in Lingua-U.

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