Documenting Endangered Alphabets
Documenting endangered alphabets Industry Focus Tim Brookes Three years ago, acting on a notion so whimsi- cal I assumed it was a kind of presenile monoma- nia, I began carving endangered alphabets. The Tdisclaimers start right away. I’m not a linguist, an anthropologist, a cultural historian or even a woodworker. I’m a writer — but I had recently started carving signs for friends and family, and I stumbled on Omniglot.com, an online encyclo- pedia of the world’s writing systems, and several things had struck me forcibly. For a start, even though the world has more than 6,000 Figure 1: Tifinagh. languages (some of which will be extinct even by the time this article goes to press), it has fewer than 100 scripts, and perhaps a passing them on as a series of items for consideration and dis- third of those are endangered. cussion. For example, what does a written language — any writ- Working with a set of gouges and a paintbrush, I started to ten language — look like? The Endangered Alphabets highlight document as many of these scripts as I could find, creating three this question in a number of interesting ways. As the forces of exhibitions and several dozen individual pieces that depicted globalism erode scripts such as these, the number of people who words, phrases, sentences or poems in Syriac, Bugis, Baybayin, can write them dwindles, and the range of examples of each Samaritan, Makassarese, Balinese, Javanese, Batak, Sui, Nom, script is reduced. My carvings may well be the only examples Cherokee, Inuktitut, Glagolitic, Vai, Bassa Vah, Tai Dam, Pahauh of, say, Samaritan script or Tifinagh that my visitors ever see.
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