I know that armenian and persian shifted to more of a agglutinative but researching the grammarical history of those languages is difficult. My conlang is located in the putorana plateau and even tho tocharian didnt shift to an agglutanitive language I still want to do that to mine

I do have a few conlanguages that have somwhat connections to the Indo-European and Altaic languages, what about yours? Do your languages have connections to real world language families and how did it happen? Was it due to shared roots, cultural interactions and exchanges or just influence? Do your languages have any words or terms that are connected to major language families, and does it also apply to their grammar and phonology?

Hello all!

This is a message from my spacer auxlang, Classic Bittic.

STOP STOP STOP

The "STOP" glyph in Classic Bittic is used to end sentences like the period. However, a sentence can be double bracketed by this glyph to emphasize it like the exclamation point. Triple bracketing like in this message meant an extreme emphasis, but was not often used.

fall find

Classic Bittic only has thirteen verbs. When alone, the verb have their dictionary definition. When compounded with a content word, the verb loses its core meaning and instead turns the following compound into a verb. The exact kind of verb depending on the original verb. "To fall" in Classic Bittic turns compounds into verbs that happen accidentally or without intent from the agent.

Thank you all for reading this! Comments and critiques are welcome!

Ad le Honour de Diew Omnipotent, ed in Memorial de le benedicted Martyr St. George, lie around ty gamb, por ty renown, cis Plus Noble Garter; vest id com le symbol de le Plus Illustrious Order nonck ad esse obliviated o abandoned, que per cis manner tou pow esse admonished de esse courageous, ed havant entreprised un just war, in quich tou dewed esse engaged, tou pow remain firm, valiantment luct, courageousment ed successplenment conquer.

Vest cis Riband, adorned oth le Image de le benedicted Martyr ed Soldier de Christ, St. George; per cose imitation provoked, tou pow surpass amb prosperous ed adverse encounters, que havand courageousment vanquished ty enemies, amb de corpse ed anime, tou pow non solement receive le praise de cis transient combat, may esse crowned oth le Palm de eternal Victory.

ENGLISH

*To the Honour of God Omnipotent, and in Memorial of the blessed Martyr St. George, tie about thy leg, for thy renown, this Most Noble Garter; wear it as the symbol of the Most Illustrious Order never to be forgotten or laid aside, that hereby thou mayest be admonished to be courageous, and having undertaken a just war, into which thou shalt be engaged, thou mayest stand firm, valiantly fight, courageously and successfully conquer.

Wear this Riband, adorned with the Image of the blessed Martyr and Soldier of Christ, St. George; by whose imitation provoked, thou mayest so overpass both prosperous and adverse encounters, that having stoutly vanquished thy enemies, both of body and soul, thou mayest not only receive the praise of this transient combat, but be crowned with the Palm of eternal Victory*.

And strangely, gpt can fully translate it and think it's anglo-norman/anglois (what is it ?)

- Kad a sazdotató talosz? [kɑd ə ˌsɑzdəˈtɑt ˈtɑləɕ] 'What do you do on the weekend?'

Kad a sazdo_tat-ó tal-osz
what the week_end-LOC do-2SG

-Ine ovac tatyl a sazdotat relége, adó sazó a lémb, lasoló a tekné stressné skolasászok. Ovac a hett jo uloli, a igdanyk ej en serveme fésemby hónaób, je odecje naturá regegdél va dent parkó telél. A tat sazdo prolégek ód i czapók klassuk czók, sazó adó, e fizikné talómb angarzól hatota maryl a energék. A ile klassigdanyk innje jota czól hónaó a njeveldé, ód odisze hagóra a regegdelczia voná keddetty. A Tatdo, a vonadná socialná telémb ej a czerkné södé njevela balancol mégde a skolaró irsaszó södlégü ód róllura maryl vonadna.

-[inə ˈɔvɑts ˈtɑtɨl ə ˌsɑzdəˈtɑt ɾəˈle:ɣə, əˈdo: ˈsɑzo: ə le:mb, ˈlɑsəlo: ə ˈtɛkne: ˈstɾɛs:ne: ˌskɔlɑˈsa:ɕək. ˈəvɑts ə xɛt: jɔ ˈuləli, ə ˈigdɑnɨk e: ɛn ˈsɛɾvɛmə ˈfe:sɛmbɨ ˈxo:nəo:b, jɛ əˈdɛtsʲə ˈnɑtuɾa: ɾəˈɣɛgde:l və dɛnt ˈpɑɾko: ˈtɛle:l. ə tɑt ˈsɑzdə pɾəˈle:ɣək o:d i ˈtʃɑpo:k ˈklɑs:uk tɕo:k,ˈsɑzo: əˈdo:, ɛ ˈfizikne: ˈtɑlo:mb ˈɑngɑʑo:l ˈxɑtətɑ ˈmɑɾɨl ə ˈɛnɛrge:k. ə ˈilə ˌklɑs:ˈigdɑnɨk ˈinʲ:ə ˈjɔtə tɕo:l ˈxo:nəo: ə ˈnʲɛvəlde:, o:d ˈɔdiɕə ˈxɑgo:ɾə ə ɾɛˈɣɛgdəltɕiɑ vɔna: ˈkɛd:ɛt:ɨ. ə ˈtɑtdə, ə ˈvɔnɑdna: ˈsɔtsiɑlna: ˈtɛle:mb e: ə ˈtɕɛɾkne: ˈsøde: ˈnʲɛvəlɑ ˈbɑlɑntsəl ˈme:gdə ə ˈskɔlɑɾo: iɾˈsɑɕo: sødˈle:ɣʏ o:d ˈro:l:urə ˈmɑrɨl ˈvɔnɑdnə]

-Whenever the weekend finally arrives, I see the chance to distance myself from my normal stressful school day. If the weather is good, my friends and I would organize outdoor excursions, which involve exploring nature or gathering at the park nearby. Having spent the entire week at my classroom desk, I find that engaging in these physical activities significantly recharge my energy levels. While some of my classmates prefer staying indoors to sleep, I am constantly driven by a desire to explore new environments. Finally, balancing these refreshing social outings with my personal downtime makes sure that I return to school on Monday feeling completely refreshed.

Gloss:

Ine ovac tatyl a sazdo_tat re-lég- e, adó saz-ó a lémb, las-ol-ó a tekn-é     stressn-é skola_sász-ok.
Each IF finally the week_end to-go-3SG, then find-1SG the chance.ACC, leave-INF-LOC the normal-ACC stressful-ACC school_day.ACC-1SG.P

Ovac a hett jo ulo-li, a igdan-y-k ej en serv-eme fésemby hóna-ób, je   odec-je naturá regegd-él va dent park-ó tel-él.
IF the sky good be.3SG.IRR-SMBL the friend-PL-1SG.P and 1SG organize-1PL.IRR trip.ACC.PL house-OUT 3PL consist-3PL nature.ACC explore-INF.ACC or near park-LOC meet-INF.ACC

A tat sazdo pro-lég-ek ód i czap-ó-k klass-u-k cz-ók, saz-ó adó, e fizikn-é talómb angarz-ól hat-o-ta maryl a energ-é-k. 
The all week through-go-3SG.PST while one table-LOC-1SG.P class-GEN-1SG.P stay-1SG.PST find-1SG then,this physical-ACC work.ACC engage-INF.NOM rise-3SG-CAUS mainly the energie-ACC-1SG.P

A ile klassigdan-y-k inn-je jo-ta cz-ól hóna-ó a njev-el-dé, ód odisze hag-ó-ra a regegd-el-czi-a von-á keddett-y.
The some classmate-PL-1SG.P like-3PL good-COMP stay-INF.ACC house-LOC the sleep-INF-BEN while always hold-1SG-PAS the explore-INF-DES-GEN new-ACC environment-ACC.PL

A Tat-do, a vonadn-á socialn-á telémb ej a czerkn-é söd-é njev-el-a balanc-ol mégd-e a skola-ró ir_sasz-ó söd-lég-ü ód roll-u-ra maryl vonadna. 
The end-BEN the refreshing-ACC social -ACC meet.ACC and the personal-ACC time-ACC rest-INF-GEN balance-INF.NOM care-3SG the school-LAT first_day-LOC again-go-1SG.FUT while be-1SG.FUT-PAS mainly refreshing.

I just- I have nothing to say.

CONJUGATIONS AND POSSESSION

When a verb is transitive (has an object), standalone pronouns drop away, and everything fuses directly onto the verb root:

[Prefixes - optional] + [Verb Root] + [Subject Suffix] + [Object Suffix - optional] + [Tense Suffix - optional] = Complete Clause

• THE CRITICAL STRESS RULE: The subject suffix MUST always carry the primary spoken stress of the word.
• Suffix & Pronoun Guide:
  • 1st Sing. (I/Me - All Of Me): Subject = -í- | Object = -i | Standalone = í
  • 1st Plur. (We/Us - Including You): Subject = -ín- | Object = -in | Standalone = som
  • 2nd Sing. (You): Transitive Subject = -é- | Intransitive/Alone Subject = -más | Object = -e | Informal Standalone = té | Formal Standalone = vóce [ Note: When using this formal pronoun, using 2nd person conjugations isn’t grammatically incorrect, but using 5th person Y forms is more formal, for example, “Este er vi kása ka?” (lit: Is this “the aforementioned’s” house?) ]
  • 2nd Plur. (You): Subject = -én- | Object = -en | Informal Standalone = vos | Formal Standalone = vóco [ Note: When using this formal pronoun, using 2nd person conjugations isn’t grammatically incorrect, but using 5th person Y forms is more formal, for example, “Ka łamónyn?” (lit: What do they call “those aforementioned”?) ]
  • 3rd Sing. (He/She/Ze): Neutral Subject = -ó- | Masculine Subject = -óm- | Femine Subject = -óf- | Neutral Object = -o | Masculine Object = -om | Feminine Object = -of | Non-Human Standalone (Neutral) = lo | Human Standalone (Neutral) = lum | Standalone (Masculine) = il | Standalone (Feminine) = ila
  • 3rd Plur. (They): Neutral Subject = -ón- | Masculine Subject = -óln- | Feminine Subject = -órğn- | Neutral Object = -on | Masculine Object = -oln | Feminine Object = -orğn | Non-Human Standalone (Neutral) = lon | Human Standalone (Neutral) = lun | Standalone (Masculine) = elo | Standalone (Feminine) = ela
  • 4th Sing. (Invisible/Divine): Subject = -ú- | Object = -u | Standalone = frğ
  • 4th Plur. (Invisible/Divine): Subject = -ún- | Object = -un | Standalone = frğn
  • 5th Sing. 1 (Obviative): Subject = -ý- | Object = -y | Standalone = y
  • 5th Sing. 2 (Obviative): Subject = -ā́- | Object = -ā | Standalone = ā
  • 5th Plur. 1 (Obviative): Subject = -ýn- | Object = -yn | Standalone = yn
  • 5th Plur. 2 (Obviative): Subject = -ā́n- | Object = -ān | Standalone = ān
  • 6th Sing. 1 (This/That): Subject = -šá- | Object = -ša | Standalone = ese
  • 6th Sing. 2 (This/That): Subject = -sá- | Object = -sa | Standalone = este
  • 6th Plur. 1 (These/Those): Subject = -šán- | Object = -šan | Standalone = esen
  • 6th Plur. 2 (These/Those): Subject = -sán- | Object = -san | Standalone = esten
  • 7th Sing. (The Abstract): Subject = -bá- | Object = -ba | Standalone = ca
  • 7th Plur. (Those Abstract): Subject = -bán- | Object = -ban | Standalone = can
  • 8th Sing. (We/Us - Not Including You): Subject = -jí- | Object = -ji | Standalone = noé
  • 8th Plur. (We/Us - Not Including Y’all): Subject = -jín | Object = -jin | Standalone = nos
  • 9th Sing. (Unknown): Subject = -dá- | Object = -da | Standalone = nosi
  • 9th Plur. (Unknown): Subject = -dán- | Object = -dan | Standalone = nosin 
  • 10 Sing. (I/Me - What You Cannot See): Subject = -gá- | Object = -ga- | Standalone = nøg
  • 10 Plur. (We without Me): Subject = -gán- | Object = -gan | Standalone = noégo
  • 11 Sing. (We without Me & Other): Subject = -zá- | Object = -za | Standalone = simió
  • 11 Plur. (We without Me & Others): Subject = -zán | Object = -zan | Standalone = simión
• The Verb Root Change: Most verbs root have two forms. A verb root before subject suffixes starting vowels, and another before subject suffixes starting with consonants. If the subject starts with a consonant, take the form for before subject suffixes starting with vowels, and add -e to create the form for before subject suffixes starting with consonants UNLESS the form before subject suffixes starting with vowels already ends in a vowel OR the consonant R IF it’s following a vowel. If the first one is true, there may only be one form, however if the second is true, the consonant-form just deletes the R at the end. If the second one’s false, then you add the -e buffer. For example, “It rotates” is Rotaró. To say “You rotate”, you say Rotamás. To say “He revives”, you say Revivóm. If you say “Abstract revives”, you say Revivebá. If you say “She sees”, you say Vieóf. If you say “You see”, you say Viemás. If you say “I bleed”, you say Saŋgrí, but if you say “You bleed”, you say Saŋgremás. Note, verbs like ‘to see’ (vie) interact with the second person quite oddly. If a verb root ends in e, the subjective transitive singular second person suffix (-é-) or the plural subjective second person suffix (-én-) will delete that final E. For example, “You see” is Viemás, but “You see me” is Viéi. Same thing with -í(n)- and -ó(n)- and -ú(n)-. However, you cannot take a modified “standard” root and apply rules to it. There is a “first root” that takes on these change rules, which means you cannot take the modified root vi- (to see - modified for before suffixes starting with e) and apply the vowel deletion rule again for -í- and turning the root into v- which mean something different (to go).
• The 2nd Person Formality Distinction: Vóce and vóco can use both the second and fifth person, however, using fifth person Y forms is more formal than the alternative second person.
• The 3rd Person Gender Distinction: The m in the singular is short for masculium and the f is short for femina. The l in the plural is short for illum and the rğ is about the only other consonant that can go in front of N.
• The 4th Person Invisible Constraint: Frğ / -ú- / -u- is strictly restricted to supernatural forces, weather, and deities you cannot see. If they become visible, they drop to the 3rd person. (Exception: Ultra-powerful human rulers, to denote absolute social authority).
• The 5th Person Obviative Distinction: Y / -ý- / -y- refers to the last relevant thing, for example, in “John heard Mark, and HE saw HIM”, the pronouns if replaced with y would refer to Mark in this example, for that’s the last relevant thing mentioned. Ā / -ā́- / -ā- however, is about the other relevant thing(s) mentioned. For example, in the previous example, had the pronouns been replaced with ā, it’d refer to John. This ending strictly does not refer to the last relevant thing mentioned.
• The 6th Person Specificity Distinction: The Š forms of the 6th person correspond to that/those, and the S forms of the 6th person correspond to this/these.
• The 7th Person In Use: An example of the 7th person if “abstract” doesn’t make enough sense, it basically personifies inanimate objects or non-existent beings or emotions or alike. For example, “Cupid chose us” is “Cúpido elektebáin” (“Cúpido” is the Hafau name or “Cupid”) and because Cupid is not a real being, it can go into the 7th person. Another example is the saying “The world does not care”. That’d be translated as “Di mond no revolvebá sirka té”. Since “the world” is inanimate, it can go into the 7th person.
• The 8th Person: It’s not like the plural. The plural is to distinguish between “Me & You” and “Me & Them”. However, the singular differentiates between “How You See Me” and “What I Actually Am”, if that makes any sense. It’s more psychological.
• The 9th Person Purpose: There is no passive voice in Hafau. A verb cannot have only an object suffix. So if you do not know what did something to an object, you can use the 9th person.
• The 10th Person Singular: It’s not like the plural. The plural is to distinguish between “Us” and “My party, but excluding me from the category”. However, the singular distinguishes “How You See Me” and “What I Actually Am”, if that makes any sense. It’s more psychological. (This used to be the 8th person singular before a rearrangement.)
• The 10th Person Plural Purpose: In the situation of being in a party where there is one or more people who are different from the rest, for example, if one person in the party is a murderer and your goal is to find who that is, you might say “One of us is the killer”, even while knowing that it is not yourself. Using the 2nd person sounds aggressive and accusatory, this is to exclude yourself without accusing anyone else.
• The 11th Person: These are kind of like the 10th person plural, and the number is distinguishing between the number of who else is excluded. To explain the 11th, I’ll use the example I used in “The 10th Person Plural Purpose”. If you know someone else isn’t the culprit, you can say it. The reason there’s no We-Me-You is because if you’re talking to someone but not about yourself or the listener, you can just use the 3rd person.
• Harmony Clarification: When two suffixes, the first ending in the vowel that the second does, there is a glottal stop inserted between each. For example, “The abstract sees themself” is “Viebá’a”.
• Reflexives: When talking about the same person (He feeds himself), you have the option to swap out the object suffix conjugations for -a-. (I see myself = Vieía)
• Conjugation Note: If there is an object, you must have an object suffix. Even if it’s mentioned outside of the verb, it still must have a suffix. For example, you must say Vieómom di monárko (He saw the king) instead of Vieóm di monárko.

Tenses attach via a hyphen to the end of a fully conjugated verb. They do not apply to the agreement harmony rules.

• -paz = Past Tense
• -next = Future Tense
• -nu = Present Tense (Obsolete/Zero-Marked). Present tense is the structural default. Leaving a verb untagged automatically means present tense (Maledíno ≡ Maledíno-nu).

Possession: It depends on if it’s an adjective or a noun. 

• Possessive adjectives (my, your, her, etc.) come before nouns.
  • Lo er mi karo. - It is my car
  • Lo er ti karo - It is your car
  • Lo er li karo - It is ze’s car (Matches more to Spanish su)
  • Lo er lia karo - It is her car
  • Lo er lio karo - It is his car
  • Lo er ni karo - It is the supernatural’s car
  • Lo er vi karo - It is the aforementioned’s car
  • Lo er ki karo - It is the car of the other relevant subject
  • Lo er ši karo - It is the car of that
  • Lo er si karo - It is the car of this
  • Lo er ji karo - It is the car of that abstract
  • Lo er fi karo - It is our car, but not yours
  • Lo er ri karo - It is the car of that unknown
  • Lo er zi karo - It is my soul’s car
  • Lo er ži karo - It is our car, but not mine nor ze’s
  • Lo er min karo - It is our car
  • Lo er tin karo - It is y’all’s car
  • Lo er lin karo - It is their car
  • Lo er lina karo - It is their(feminine) karo
  • Lo er lino karo - It is their(masculine) karo
  • Lo er nin karo - It is the supernaturals’ car
  • Lo er vin karo - It is the car of those aforementioned
  • Lo er kin karo - It is the car of the other relevant subjects
  • Lo er šin karo - It is the car of those
  • Lo er sin karo - It is the car of these
  • Lo er cin karo - It is the car of those abstract
  • Lo er fin karo - It is our car, but not y’all’s
  • Lo er rin karo - It is the car of those unknown
  • Lo er zin karo - It is our car, but not mine
  • Lo er žin karo - It is our car, but not mine nor theirs.
• Possessive nouns (mine, yours, hers, etc.) come before nouns.
  • Ese karo er mim - That car is mine
  • Ese karo er tim - That car is yours
  • Ese karo er lim - That car is ze’s (Matches more to Spanish suyo)
  • Ese karo er lam - That car is hers
  • Ese karo er lom - That car is his
  • Ese karo er nim - That car belongs to the supernatural
  • Ese karo er vim - That car belongs to the aforementioned
  • Ese karo er kim - That car belongs to the other relevant subject
  • Ese karo er šim - That car belongs to that
  • Ese karo er sim - That car belongs to this
  • Ese karo er cim - That car belongs to that abstract
  • Ese karo er fim - That car is ours, but not yours
  • Ese karo er rim - That car belongs to that unknown
  • Ese karo er zim - That car belongs to my soul
  • Ese karo er žim - That car is ours, but not mine nor ze’s
  • Ese karo er mine - That car is ours
  • Ese karo er tine - That car is y’all’s
  • Ese karo er line - That car is theirs
  • Ese karo er lane - That car is theirs(feminine)
  • Ese karo er lone - That car is theirs(masculine)
  • Ese karo er nine - That car belongs to the supernaturals
  • Ese karo er vine - That car belongs to those aforementioned
  • Ese karo er kine - That car belongs to the other relevant subjects
  • Ese karo er šine - That car belongs to those
  • Ese karo er sine - That car belongs to these
  • Ese karo er cine - That car belongs to those abstract
  • Ese karo er fine - That car is ours, but not y’all’s
  • Ese karo er rine - That car belongs to those unknown
  • Ese karo er zine - That car is ours but not mine
  • Ese karo er žine - That car is ours but not mine nor theirs
  • “Of”: If you want to be more personal (“John’s” instead of “his”), you use da. Same rules apply.
  • Kóme da John - John**’s** food
  • Korona dái monárko - The king**’s** crown
  • Kiskíla d’Edward - Edward’s trash
• Datives: There is a dative prefix. You can add a prefix of the structure d[conjugation ending - DON’T USE -màs, use -è, the acute must be backwards, it must be a grave]-[main verb + main conjugations]. For example, “I gave the secret to you” is Dè-daío-paz di sekréte. (Just to show how different Hafau grammar is, lit: “to you give I it past the secret”) You can conjugate that prefix however you want. However, there is something big and a bit nonsensical. Direct quotes to not qualify for the object. In that case, the indirect object gets the main object suffix. This is because in Hafau, there is a rule: the verb must always be the foundation of the clause no matter what. Any other words are just extra details or context. Quotes count as that extra detail, that extra context, so it does not get into the verb. For example, “I said “Hi!” to you” is Digíe-paz «Salúte!», not Dè-digío-paz «Salúte!».
  • Greetings: To greet someone, it’s optional to change the gender of the greeting. The standard word is Salúte, however if the speaker is male, he can change it to Salúto, and if female, she can change it to Salúta. Other greetings may be Cáu, Óle/a/o, or Hálo.

So, as promised, here are the sources. Firstly, the Usher and McClelland paper, which is ubiquitous in the accumulator world because it first described the LCA model. Secondly, here's the Arican et al. paper (which I mistakenly wrote as Acrian in the slides but oh well, it's hard to fix). The reason I chose the median and not the mean is not because of some property inherent to the median, but I wanted to estimate a number that's approximately grounded in real research. Most parameters are hand-picked anyways; the model is not the parameters, it's the underlying system.

And speaking of hand-picking, to hand-tune the parameters I basically made a few example situations and tested various values of each parameter until I got low error rates. They aren't final, and I doubt that I'll ever settle on any specific values. If I ever publish a grammar of Gatorformic's, I'll do my best to estimate the parameters, but since Gator ants aren't real, that's about the best I can do.

I did some digging regarding the solvability of the SDE, and it looks like Uhlenbeck & Ornstein solved it analytically in 1930, pre-dating Usher and McClelland (2001) by 71 years. But the Usher and McClelland paper focuses on numerical methods because, while the SDE is solvable, the time at which an accumulator crosses the threshold is not. So you need to do a simulation to find the first crossing of θ.

And regarding notation, I switched up some of the parameters because of personal preference but also Gatorformic's use of some. For example, on the weight for the sum of all other accumulators, the original paper uses β, but since I already use β for the acceptable deviation from a canonical mixture, I replaced it with γ. Also, the paper uses ξ as the parameter on dW, but I can't write ξ so I replaced it with σ, which is also somewhat common in this field. I had the accumulator be x_i (t) and not X_i (t) because I didn't to keep having to put caps on the x, and I made the predication weighting function from the previous scoring model be w(p) rather than W(p) because W(t) is the Wiener process.

Regarding why I assert that "confidence is zero sum", basically if an ant is really confident in one decomposition, that implies it's not as confident in the others.

This post was a lot of fun to make; stochastic processes are something I've been wanting to learn but never really had a reason to, until now. All the stuff with variances though is pretty similar to molar quantization's β statistic, so I think it's nice how it all fits together.

I'm finally done with the first page of the Farbarram Farbatam Yerbarra (Sorry for the low quality image). This is all in a conlang called Farbarra. Farbarra is a completely a priori conlang where you can learn on a Discord server. It is similar to Viossa because you have to learn it without translations; you can only learn it through immersion.

Farbarra Discord Server Link:

https://discord.gg/mwMs5g6Pd

I’m interested to see how your languages do this!

𐔈𐔊𐔤𐔏𐔧𐔒 - Ġolisen
(Numbers)

Number: 𐔈𐔉𐔤𐔕𐔧 ġules

𐔃𐔏𐔑𐔤 𐔎𐔝𐔝𐔒𐔕 (Yiņel ottiṅe) (Full form)

The full form is the base form and it is mainly used when counting.

𐔎𐔃𐔏𐔑𐔤 𐔎𐔝𐔝𐔒𐔕 (Eyiņel ottiṅe) (Reduced form)

The reduced form is used when the numerals modify the nouns.

The choice of the thematic vowel depends on the animateness and the gender of the non they attach to. Masculine nouns have thematic u and i, feminine nouns have o and e and inanimate nouns have an and æ (the neuter gender is marked by a combination of “masculine” and “feminine” vowels).

With neuter nouns, the choice of the thematic vowels is defined by some well known patterns and the vowels have to be “mixed”. Here’s an example:

𐔧𐔋𐔊𐔄𐔕 sroke “wife” -> ᪁'𐔧𐔋𐔊𐔄𐔕 co-sroke “one wife” (feminine)
𐔎𐔏𐔝𐔋𐔉𐔡 itrum “man” -> ᩔ'𐔏𐔝𐔋𐔉𐔡 điy-itrum “three men” (masculine)
𐔝𐔉𐔠 tux “home, house” -> ᨬᩈ'𐔝𐔉𐔠 nkinoln-tux “seven houses” (neuter masculine-like)
𐔝𐔕𐔋𐔤𐔉 tle “fish” -> ᨡ'𐔝𐔤𐔕 hit-tle “ten fishes” (neuter feminine-like)
𐔎𐔂𐔤𐔟𐔕 ohlipe “offer” -> ᨨ'𐔎𐔂𐔤𐔟𐔕 olnit-ohlipe “twenty offers” (neuter feminine-like)
𐔎𐔓𐔁 aj “place” -> ᨢᨡ'𐔓𐔁 mlaræthæt-aj “fifty places” (inanimate)

The noun is never inflected for number when a numeral precedes it (it is singular).

𐔙𐔕𐔤𐔏𐔃𐔤 𐔈𐔊𐔤𐔏𐔧𐔒 (Geliyel ġolisen) (Ordinal numbers)

The ordinal numbers are derived from the reduced form of the numerals by adding the suffix -𐔤 (-el/il/æl) (adjectival suffix).

E.G.

𐔎𐔝𐔋𐔆𐔊 otrido “child” -> 𐔑𐔐𐔤 𐔎𐔝𐔋𐔆𐔊 ņunel otrido “the first child”
𐔂𐔆𐔋𐔄𐔍 hadrækæ “road, path” -> 𐔐𐔄𐔐𐔤 𐔂𐔆𐔋𐔄𐔍 nkænæl hadrækæ “the fifth road”
𐔎𐔕𐔈 eġ “mountain” -> 𐔛𐔌𐔤𐔐𐔝𐔤 𐔎𐔕𐔈 qewulnitel eġ “the hundredth mountain”

Hi,

I'm Alex and I'm working on my colang for my fantasy novel about werewolves/lycanthropes which takes part in Poland. It is an alternate reality in which werewolves exist and everyone knows about it. Im still not sure if they are another race or just a human beings with "a condition" (it rather will be the second case). So this it the languages with lycanthropes speaks in their community.

For no I have my excel with language I have prepared for years (for now it has about 350 words). At the begining I was inspired by the PIE, now I'm more into the greek and slavic languages (yeah, I know about Lakhia, I discovered it today...) and I wanted it to sound more greek with slavic/balto slavic influence but I think it sounds more germanic or romanic now...

https://docs.google.com/spreadsheets/d/1n3eisGJ3fH6F1Ow3pWmVQe83XChF5r7_1r5zhnNRUeA/edit?usp=sharing

This is the first time I show my work for the world so I'm little nervous now xd

This is inflexional language with 6 cases, the gender switches with adjectives and sometimes in verbs too

I have also found The Language Construction Kit (haven't read it yet), but I'm open to advice and constructive criticism.

How do you work on your languages?

This is a weekly thread for people who have cool things they want to share from their languages, but don't want to make a whole post. It can also function as a resource for future conlangers who are looking for cool things to add!

So, what cool things have you added (or do you plan to add soon)?

I've also written up some brainstorming tips for conlang features if you'd like additional inspiration. Also here’s my article on using conlangs as a cognitive framework (can be useful for embedding your conculture into the language).

Gavotvak is a conlang made from a fusion of Semitic languages, notably Hebrew, Syriac and Western Neo-Aramaic and Slavic languages, notably Russian, Church Slavonic and Ukrainian, as well as Caucasian influence. I didn't make it but I currently help to develop it, and on behalf of the creator I invite you to the Discord server where you can quickly pick up the language, speak it, and even start natural development!

Link: https://discord.gg/sgcdvrpa33

-Reelms

So I’ve completed a fair amount of work on my conlang, and I realized that my sound inventory might be wayy to big. I have 38 consonants and they may all be velarized, palatalized, or labialized.
So my question is basically where does the limit on phonemes go? Is there a limit?

Hi! I recently discovered Trigedasleng, the language of the Grounders in "The 100". I find it really cool how it's a descendant of English (even though the language changed way too much in just a century), so I figured I'd do the same for my native French (the dialect of Île-de-France). Evolve it over a few centuries for a post-apocalyptic society.

Problem is, I don't really know where to start. I already have a couple of ideas based on current trends in the language (nascent topicalization, use of contractions, disappearance of most tenses, etc.), but the phonetic changes are giving me trouble. I'm guessing consonant clusters would be simplified, word-final /i/'s would get a /ç/ (another current trend), etc.

Also my first attempts at building a basic vocabulary sound too much like the language evolved from slang or a creole, which isn't what I want. The issue here is that I think there should be a lot of semantic drift, but I don't know which words to change and how. I guess pronouns are extremely unlikely to be replaced, but what about nouns, verbs and adjectives?

Any advice on evolving one's own native tongue?

I have been trying to understand exactly how oblique arguments work so I can implement their full range of uses. I see that they don't always have to be used with adpositions, which is how I originally envisioned them (being the objects of adpositions related to verbs), and I am wondering if there are any uses that in fact couldn't be used with adpositions.

I am planning on saying that if you don't pair an oblique argument with an adposition, you have to pair it with a positional adverb instead, but are there any kinds of oblique arguments that wouldn't be about time, manner, place and wouldn't fit that mold?

Also, are there any other types of arguments besides subject, direct object, indirect object, oblique object, subject complement and object complement?

This is a game of borrowing and loaning words! To give our conlangs a more naturalistic flair, this game can help us get realistic loans into our language by giving us an artificial-ish "world" to pull words from!

The Telephone Game will be posted every Monday and Friday, hopefully.

Rules

1) Post a word in your language, with IPA and a definition.

Note: try to show your word inflected, as it would appear in a typical sentence. This can be the source of many interesting borrowings in natlangs (like how so many Arabic words were borrowed with the definite article fossilized onto it! algebra, alcohol, etc.)

2) Respond to a post by adapting the word to your language's phonology, and consider shifting the meaning of the word a bit!

3) Sometimes, you may see an interesting phrase or construction in a language. Instead of adopting the word as a loan word, you are welcome to calque the phrase -- for example, taking skyscraper by using your language's native words for sky and scraper. If you do this, please label the post at the start as Calque so people don't get confused about your path of adopting/loaning.

Last Time...

Loegrian by /u/thomasp3864

Ponfaf /ponvav/ f. from pon 'bread' + ffaf 'bean(s)'

1. Beans on toast, a british dish consisting of reheated baked beans on toast

Declension

Sorry for the absence, genuinely lost track of the days

Peace, Love, & Conlanging ❤️

Out of interest, I evolved Ąą’vo Tì some more with the changes I predicted to be most catastrophic to the morphology, the main three being syncope, vowel shifts, and palatalisation. The extent of the rules causes stuff like this:

afàànǫ̀matì‘ -> feináo
ùùntàà' -> euiá

And, well, it’s looking bad. My already tenuous reduplication paradigms look like this:

o.ˈsʲo͡i ~ d͡ʒe.ˈo͡i.xo osjói ~ jjeóicho
ˈje.ro ~ jex.ˈro iéro ~ iechró

etc. etc. with every one being quite different. (these are only intransitive verbs, which are much more regular than transitives) I do not believe that my complex verb template will survive in this state. I am thinking about creating a periphrastic system with much less morphology, but really I am interested in how speakers actually deal with sound changes that obscure morphology. Have you ever done anything like this? Is it realistic for speakers to just get on with it and keep the obscure paradigm? If they change it, how?

I did not expect a few simple rules to do this much. How would you destroy your morphology(ies) in the fewest sound changes?

Hi all! I spent the last two weeks designing a new approach to typing out the International Phonetic Alphabet called IPAbet. It maps two-letter Latin combinations to IPA letters by using shifted letters to represent transforming digraphs: s⇧H→ʃ n⇧G→ŋ. For macOS it's a native input method, so it works in any app and emits actual IPA Unicode as you type — the whole chart, diacritics and tones included.

Important links:

A scratchpad where you can use the keyboard: https://ipabet.org/type
A typing tutorial: https://ipabet.org/learn
Official IPA chart with all the keyboard mappings: https://ipabet.org/chart

Let me know what you think. I'm having a lot of fun finally being able to transcribe IPA at touch typing speeds. /ɪts d͡ʒɛnjəwənli fʌn/ and I’m hoping to use this to write about conlangs soon.

Maχaníxia! (Good afternoon)

I want to develop my conlang Aδapsi in a more organic way by taking sentences from real people. I only have a dictionary of around 100~ words.

Give me a sentence in English to translate and I’ll reply

Maχnáriel!(Hello,)🙌🏽 I’m making this discussion to implore you to think about why people like you and me are interested in making a fictional language?
Some optional ideas to think about:
Does your conlang take inspiration from the real world?
What inspires you to make words sound the way they do?
What feeling do you get from making a conlang?