A Quote by Daniel Tammet
The way that I approached numbers, think about them, the same as for language as well-acquiring vocabulary, understanding the grammar, the structures of languages, the rhythm, the music and so-on - these things obviously evolved.
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By a generative grammar I mean simply a system of rules that in some explicit and well-defined way assigns structural descriptions to sentences. Obviously, every speaker of a language has mastered and internalized a generative grammar that expresses his knowledge of his language. This is not to say that he is aware of the rules of the grammar or even that he can become aware of them, or that his statements about his intuitive knowledge of the language are necessarily accurate.
The Language Laboratory at Cambridge is a very good way of finding out about grammar and the vocabulary and that's why I learned to read German and later on I added Spanish, the standard European languages.
Learn Languages the Right Way. Language acquisition games and abstract communicative method are bullshit. The second-best way to learn a foreign language is alone in a room doing skull-numbing rote memorization of vocabulary, grammar, key phrases, and colloquialisms. The best way is in bed.
Plurality of languages: [...] It is crucial 1. that there are many languages and that they differ not only in vocabulary, but also in grammar, and so in mode of thought and 2. that all languages are learnable.
Language is very deceiving. In certain languages, there is certain vocabulary that doesn't exist in other languages. It totally changes how people feel about things.
One of the problems with watching TV is that you've got a fairly low level of language operating all the time. Quite a small vocabulary and really no conceptual or abstract thinking. That's an issue. If you've got a wide vocabulary, you can learn. The complexities of grammar, in themselves, force you to think about time in a particular way. Force you to widen your outlook on the world.
In a soundtrack, you are in a way always relating with... a combination of different languages. It has to have the same path and same rhythm. Sometimes it's a polyphony of languages that have to work together in some way. With musical projects alone, you can be more free.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
Your voice sounds completely different in different languages. It alters your personality somehow. I don't think people get the same feeling from you. The rhythm changes. Because the rhythm of the language is different, it changes your inner rhythm and that changes how you process everything.
Those who become hyperpolyglots are those who meet two criteria. One, they are exposed to language material. Two, they undertake learning languages as a mission as well as acquiring the personal identity as a language learner.I describe the "neural tribe theory" of hyperpolyglots, arguing that they possess an atypical neurology that is selected by some environments and not others; presumably, there have always been humans walking around with that set of neurological traits or factors, only some of whom actually use those things for languages.
It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.
Colonialism is a terrible bane for a people upon whom it is imposed, but a blessing for a language. English's drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, it shoulder-shrug approach to spelling, its don't-worry-be-happy concern for grammar-the result was a language whose colour and wealth Henry loved.
There is a way in which all writing is connected. In a second language, for example, a workshop can liberate the students' use of the vocabulary they're acquiring.
Personally I think that grammar is a way to attain Beauty. When you speak, or read, or write, you can tell if you've spoken or read or written a fine sentence. You can recognise a well-tuned phrase or an elegant style. But when you are applying the rules of grammar skilfully, you ascend to another level of the beauty of language. When you use grammar you peel back the layers, to see how it is all put together, to see it quite naked, in a way.
One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.
Von Neumann languages do not have useful properties for reasoning about programs. Axiomatic and denotational semantics are precise tools for describing and understanding conventional programs, but they only talk about them and cannot alter their ungainly properties. Unlike von Neumann languages, the language of ordinary algebra is suitable both for stating its laws and for transforming an equation into its solution, all within the "language."
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