In two short essays – written in 1933 – Walter Benjamin argues that primitive language emerged in magical correspondence with the world. The faculty we all exhibit in childhood play, to impersonate and imitate people and things loses its determining power as language gradually takes over from our “non-sensuous” connection with reality. In a break from Saussurian linguistics, Benjamin decries the loss of this “mimetic faculty”, as it becomes further replaced by the “archive of non-sensuous correspondences” we know as writing. To put it in simpler terms… Where once we read the world, the stars or the entrails of a sacrificed animal, now we read the signs enabled and captured by written language. From Benjamin’s The Doctrine of the Similar: “So speed, the swiftness in reading or writing which can scarcely be separated from this process, would then become… the effort or gift of letting the mind participate in that measure of time in which similarities flash up fleetingly out of the stream of things only in order to become immediately engulfed again.” The GIF – standing for Graphical Interchange Format – has been around since 1987. Their early popularity was based, in part, on their ability to load in time with a web-page. In the days of poor bandwidth and dial-up connections this meant that at least part of a GIF image would appear before the user’s connection broke, or – more significantly – the user could see enough of the image for it to make sense. In the mid 90s avid web hackers managed to crack the code of GIFs and use this ‘partial loading’ mechanism to encode animations within a single GIF file. Thus the era of personal web pages saturated with looping animations of spinning hamsters was born. Brought on – ironically – by their obsolescence the GIF has become the medium of choice for web artists, propagating their particular net-aesthetic through this free, open and kitschy medium. GIFs inhabit the space between convenience and abundance, where an apparent breakdown in communication can stimulate new modes of expressing non-sensuous similarities in the internet world. Sites like dump.fm, 4chan and ytmnd revel in the GIF’s ability to quickly correspond to the world. GIFs can be broken into their constituent frames, compressed and corrupted on purpose and made to act as archives for viral events travelling the web. A playground of correspondences that at first reflected language and the wider world, in time has looked increasingly inward. As language and writing find themselves pulled through and energised by the semiotic sludge of the broken, corrupted and iconic animated GIF Benjamin’s sensitivity to similitude continues to echo its magical significance. GIFs take a variety of forms, some of which I will try to classify for you: GIF Type I: Classic

Small in size and made up of few frames, this is where animated GIFs began. Corresponding to single words or concepts such as ‘smile’, ‘alien’ or ‘flying pink unicorn’ GIF Type II: Frame Capture

Frame grab or video capture GIFs pay homage to well known scenes in pop culture. But as the ‘art’ of animated GIFs grew the frame capture began to stand for something isolated from context. This leap is, for me, the first point at which GIFs begin to co-ordinate their own realm of correspondence. An ocean of viral videos turned into a self-serving visual language, looping back on itself ad infinitum. GIF Type III: Art

Leaking then directly into the third category, we have the Art GIF. Much larger in resolution and aware of their heritage in cinema, these GIFs are acutely refined in their choice of framing. GIF Type IV: Glitch

A badly encoded or compressed GIF can result in odd, strangely beautiful phenomena, and with a little skill and coding ability these glitches can be enhanced to enormous proportions. Glitch GIFs break the boundaries of another non-sensuous realm: that of computer code. A significant magical order Benjamin was little capable of predicting. GIF Type V: Mash-Up

Lastly, and perhaps most prolific, is the mash-up GIF. These GIFs are comprised of a combination of all the previous forms. The mash-up is THE most inner-looking species of GIF. It is possible to track the cultural development of some of these. Often though, the source of any original correspondence becomes completely lost in the play of images. Here again, I think Benjamin’s essay can help us: “Language is the highest application of the mimetic faculty: a medium into which the earlier perceptive capabilities for recognising the similar had entered without residue, so that it is now language which represents the medium in which objects meet and enter into relationship with each other…” In other words, what these images MEAN I can’t tell you in words. But perhaps by showing you other GIFs I might go some way to helping you understand them.

Researchers at The University of Queensland and Queensland University of Technology have taught robots how to develop their own language. That way, when they're about to deal the finishing blow to an injured human, they can ask if you want the laser beam in your beep boop or grabble grabble. Options, wonderful. The robot language was developed by a group of 'Lingodroids' wandering around an office making up words for places. God, it's called 'by the water cooler' you f***ing idiots!

As part of our research on explanatory journalism, we’re interviewing experts in fields outside journalism about their approaches to explaining complex systems to non-specialtists.

Our first expert is cognitive linguist George Lakoff, who did groundbreaking research on the embodiment of thought and language and the way people think using metaphors. For Lakoff, language is not a neutral system of communication, because it is always based on frames, conceptual metaphors, narratives, and emotions. Political thought and language is inherently moral and emotional. The basic phrases journalists use every day—words like “liberty” “freedom” “immigrant” “taxes”— are essentially contested concepts that have radically different meanings for different Americans.

Lakoff came up with a widely influential framework for understanding American politics, contrasting the “strict father” morality of conservatives with the “nurturant parent” morality of liberals.

Judging from how the Times magazine’s excerpt from Guy Deutscher’s new book has been one of the most read pieces in the paper for over a week now, the book is on its way to libating readers ever eager for the seductive idea that people’s languages channel the way they think--that is, that grammar creates cultural outlooks.

“Oooh-mmmm!” I heard in a room once when a linguist parenthetically suggested that the reason speakers of one Native American language have prefixes instead of words to indicate mixing, poking, and sucking on food is because they are “culturally” attuned to such things.

But don’t we all cherish poking and sucking? As cool as it would be if grammar were thought, the idea is a myth--at least in any form that would be of interest beyond academic psychologists.

Deutscher is to be commended for noting that the original version of this idea has not held up. Fire-inspector-by-day Benjamin Lee Whorf claimed in the thirties that Hopi has no way to indicate tense, and thus

Carl Honoré (In Praise of Slow) says Canada's Baffin Island Inuit "use the same word—'uvatiarru'—to mean both 'in the distant past' and 'in the distant future.' Time, in such cultures, is always coming as well as going."

In an essay by Louise Edrich (Two Languages in Mind, but Just One in the Heart), she writes about learning Ojibwemownin and how "nouns are mainly desginated as alive or dead, animate or inanimate...once I began to think of stones as animate, I started to wonder whether I was picking up a stone or it was putting iteslf in my hand."

I'm fascinated by language reflecting culture and vice versa. Any reference you've run across in passing or even know about as a multi-lingual MeFite is welcome. Moreover, if English isn't your primary language, what words/concepts made you take pause?

Guy Deutscher is that rare beast, an academic who talks good sense about linguistics, his chosen field. In his new book, Through the Language Glass (Heinemann), he fearlessly contradicts the fashionable consensus, espoused by the likes of Steven Pinker, that language is wholly a product of nature, that it does not take colour and value from culture and society. Deutscher argues, in a playful and provocative way, that our mother tongue does indeed affect how we think and, just as important, how we perceive the world.

An honorary research fellow at the University of Manchester, the 40-year-old linguist draws on a range of sources in the book to show language reflecting the society in which it is spoken. In the process, he explains why Russian water (a "she") becomes a "he" once you have dipped a teabag into her, and why, in German, a young lady has no sex, though a turnip has.

Sacrifice, speech, writing and art: I am interested in the different ways in which a sacrifice, a sacrament, a spoken word and a written word act as signifiers. The notion for instance that the sacrament, at the point of its acceptance, is understood as becoming the signified. What can you tell me / what has been written about the notions of sacrifice and their relationship to speech, art and the technologies of writing? I am at the very early stages of writing on these themes (so forgive any gross generalisations I make here).

I have a sort of vague notion that speech in a pre-literate society acts in a similar way to the sacrament, i.e. that the spoken word somehow becomes what it signifies (the mimesis of pre-literate speech is imminent). Writing on the other hand acts at a distance, and the notions of referral seem to be quite different when a meaning is ascribed to an iconographic or phonetic indicator carved in stone or written on paper. I am also interested in how art and the sacrifice have functioned through the ages.

I guess I would like your thoughts. AskMefi has never let me down in the past!

• Has anything specific been written on the move from sacrificial mimesis to written mimesis?

• Any interesting writings on sacrifice as it relates to art, language and literature?

Thanks in advance

In the wake of the controversy that greeted his paper, Everett encouraged scholars to come to the Amazon and observe the Pirahã for themselves. The first person to take him up on the offer was a forty-three-year-old American evolutionary biologist named Tecumseh Fitch, who in 2002 co-authored an important paper with Chomsky and Marc Hauser, an evolutionary psychologist and biologist at Harvard, on recursion. Fitch and his cousin Bill, a sommelier based in Paris, were due to arrive by floatplane in the Pirahã village a couple of hours after Everett and I did. As the plane landed on the water, the Pirahã, who had gathered at the river, began to cheer. The two men stepped from the cockpit, Fitch toting a laptop computer into which he had programmed a week’s worth of linguistic experiments that he intended to perform on the Pirahã. They were quickly surrounded by curious tribe members. The Fitch cousins, having travelled widely together to remote parts of the world, believed that they knew

De-constructing 'code': I am looking for philosophical (from W. Benjamin through to post-structuralism and beyond) examinations of 'code'. That both includes the assumptions contained in the word 'code' and any actual objects or subjects that code is connected to - including, but not limited to: computer programming, cyphers, linguistics, genetics etc. I am looking to question the assumptions of 'code'. Perhaps a specific example of a theorist de-constructing the term.

I am currently knee deep in an examination of certain practices and assumptions that have arisen from digital media/medium and digital practice (art and making in the era of data packets and compression-artefacts for example). Through my analysis I wish to investigate the paradigms of text and writing practice (the making of textual arts).

A simple analogy to this process would be looking at dialectic cultures (speech based) from the perspective/hindsight of a grapholectic culture (writing/print based). In a similar way, I want to examine writing, film and their making with the hindsight of digital paradigms.

I am aware of the works of Deleuze, Derrida, Barthes, Genette, Ong, Serres, Agamben etc. but any of their works that deal specifically with 'code' would be very very useful.

I look forward to any pointers you can give me

Every family, it seems, has its own set of words for describing particular Lego pieces. No one uses the official names. “Dad, please could you pass me that Brick 2x2?” No. In our house, it’ll always be: “Dad, please could you pass me that four-er?”

And I’ll pass it, because I know exactly which piece he means. Lego nomenclature is essential for family Lego building.

“Dad, I’m building a roof for the medical pod, but I need a hinge-y bit to make it open up. You know, one of those four-er flat hinge-y bits.”

In depicting the emergence of the world’s languages as a curse of gibberish, the biblical tale of the Tower of Babel makes us moderns smile. Yet, considering the headache that 6,000 languages can induce in real life, the story makes a certain sense.

Not long ago, 33 of the FBI’s 12,000 employees spoke Arabic, as did 6 of the 1,000 employees at the American Embassy in Iraq. How can we significantly improve that situation is a good question. It’s hard to learn Arabic, and not only because it’s hard to pick up any new language. Iraqi Arabic is actually one of several “dialects” of Arabic that is as different from the others as one Romance language is from another. Using Iraqi Arabic even in a country as close as Egypt would be like sitting down at a trattoria in Milan and ordering lunch in Portuguese.

Bookstore shelves groan under the weight of countless foreign-language self-teaching sets that are about as useful as the tonics and elixirs that passed as medicine a century ago and leave

Drawing on philosophy and linguistics, cognitive scientists have begun to see the basic metaphors that we use all the time not just as turns of phrase, but as keys to the structure of thought. By taking these everyday metaphors as literally as possible, psychologists are upending traditional ideas of how we learn, reason, and make sense of the world around us. The result has been a torrent of research testing the links between metaphors and their physical roots, with many of the papers reading as if they were commissioned by Amelia Bedelia, the implacably literal-minded children’s book hero. Researchers have sought to determine whether the temperature of an object in someone’s hands determines how "warm” or "cold” he considers a person he meets, whether the heft of a held object affects how "weighty” people consider topics they are presented with, or whether people think of the powerful as physically more elevated than the less powerful.

Art is imitation only to the extent to which it is objective expression, far removed from psychology. There may have been a time long ago when this expressive quality of the objective world generally was perceived by the human sensory apparatus. It no longer is. Expression nowadays lives on only in art. Through expression art can keep at a distance the moment of being-for-other which is always threatening to engulf it. Art is thus able to speak in itself. This is the realization through mimesis. Art's expression is the antithesis of 'expressing something.' Mimesis is the ideal of art, not some practical method or subjective attitude aimed at expressive values. What the artist contributes to expression is his ability to mimic, which sets free in him the expressed substance." [1]

Adorno's critique of mimesis proposes a method of dialectical reflection which goes against the grain of the positivistic tendency of modern consciousness, which has a tendency to substitute means for ends. "Ar

“When an English speaker doesn’t understand a word of what someone says, he or she states that it’s ‘Greek to me’. When a Hebrew speaker encounters this difficulty, it ’sounds like Chinese’. I’ve been told the Korean equivalent is ’sounds like Hebrew’,” says Yuval Pinter (here on the excellent Languagelog).

Which begs the question: “Has there been a study of this phrase phenomenon, relating different languages on some kind of Directed Graph?” Well apparently there has, even if only perfunctorily, and the result is this cartogram.

Take this article, for example. It is an unwinding spring of phonic sounds, encoded into a series of arbitrary symbols, stretching from left to right within an imaginary frame projected onto the surface of your computer screen. Here lies the perfect example of an artefact with intention behind it. A series of artefacts in fact, positioned by my mind and placed within a certain context (i.e. 3QD: a fascinating and widely read blog). As a collection, as an article, its intention is easy to distinguish. I wanted to say something, so I wrote an article, which I hoped would be read by a certain audience. But what of the intention of each individual object within the whole? What was the original intention of the letter 'A' for example? Do we decide that the intention is connected to all speakers of the English language, perhaps? Or maybe all literate members of the human race? Or maybe the human race as a whole?

Within the area of corpus linguistics, collocation is defined as a sequence of words or terms which co-occur more often than would be expected by chance.

Collocation refers to the restrictions on how words can be used together, for example which prepos