1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

I just need a second opinion or someone to talk about this to someone
But is it me or Filipinos just finds everything funny and will try to find something funny or am I being bullied or teased. Because anything I do a person has to say something to me or treat me differently. I've been going to school here in the Philippines for almost 2 years now. I've relearned the language, catched up with their jokes, and culture. Although, I grew up in the US from age 9-19. I still have memories and have some idea of speak Bisaya and I grew up in a very Filipino household. So I'm not completely white washed. But people here in my School, which is known to be American and "westernized" treat me like I'm so different and stupid. I feel like anything I do I'm getting made fun of or someone has to say something. Its not harsh or anything, no physical bullying but just slight microaggression and back talking I feel like its not even a joke anymore.
Example: A teacher mentioned the word alien, and two guys said "that's (my name)" and laughed at me
And sometimes I'm just minding my own business and this girl has to say some remark or joke to tease me (btw were not close ,just classmates"
Its getting in my head recently and I can't tell if I should take it as a joke or not. What do you guys think??

I just need a second opinion or someone to talk about this to someone
But is it me or Filipinos just finds everything funny and will try to find something funny or am I being bullied or teased. Because anything I do a person has to say something to me or treat me differently. I've been going to school here in the Philippines for almost 2 years now. I've relearned the language, catched up with their jokes, and culture. Although, I grew up in the US from age 9-19. I still have memories and have some idea of speak Bisaya and I grew up in a very Filipino household. So I'm not completely white washed. But people here in my School, which is known to be American and "westernized" treat me like I'm so different and stupid. I feel like anything I do I'm getting made fun of or someone has to say something. Its not harsh or anything, no physical bullying but just slight microaggression and back talking I feel like its not even a joke anymore.
Example: A teacher mentioned the word alien, and two guys said "that's (my name)" and laughed at me
And sometimes I'm just minding my own business and this girl has to say some remark or joke to tease me (btw were not close ,just classmates"
Its getting in my head recently and I can't tell if I should take it as a joke or not. What do you guys think??

Once you graduate Ateneo and enter the workforce, don't forget that you have been living under a bubble for the past few years you've been in Ateneo.
"The Ateneo Bubble" happens when an Atenean becomes so immersed into their college life that they start to forget what reality is. It's when they have been living inside of a ideal reality that only happens inside Ateneo, which unfortunately does not reflect real life in the Philippines.
You need to understand now that your workmates in the corporate world will most likely not come from the Big 4 universities, and most of them will be complete opposites of the types of people you encounter everyday in Ateneo. Di ba sa Ateneo, they encourage all students to be cheery, joyful, and positive at all times? Your workmates might not be, in fact, some of them might even have attitude problems that you unfortunately have to deal with. They might not know any of the TV shows you loved; they won't be big fans of Taylor Swift or any of your favourite artists; they won't know any of your Kpop idols or Kdramas; masaya na sila sa Nescafe stick for coffee instead of Tim Horton's or Starbucks; for them P200-P500 is already a lot of money to spend for a single meal; they might not wear branded clothes, masaya na sila sa simple and plain na pananami; they might prefer to commute instead of ride a Taxi or Grab kasi mas cheaper. They might prefer to speak Tagalog or Bisaya instead of English. They might make fun of you for saying things like "make sundo" or "make hatid" or any other conyo statements.
At eto ang siguro isa sa pinaka masaklap about going down the hill and into the real world...
Your bosses/employers will likely not be as progressive as the Admin in Ateneo. What I mean by that is, hindi sila madadala sa rallying or shared posts sa social media. These corporate megalomaniacs DON'T CARE about you nor your fellow employees, kasi pera lang talaga iniisip nila. This is the complete opposite of the admin in Ateneo, who actually listens to the student body and Sanggunian. For example, in Ateneo, pag mainit masyado or maulan, they will opt for online classes para hindi mahirapan students, but in corporate, walang wala silang pakealam anong weather, they expect you to show up every single working day.
I know this might be depressing to read, pero it's better that you're aware of the realities now pa lang instead of being shocked after you graduate. Wishing you guys the best.

Sukad sa una naa na jud mi Haircut inspection pag elementary until highschool, tapos pag college, utro nasad naa na say haircut inspection, so all through-out my life wala jud ko'y liberty mo style sa ako buhok. Enter pandemic, since tanan tao WFH man tapos graduate nasad ko ato ug College, didto jud ko naka kita ug chance na magpa long hair na mura na ko'g si Jesus tan-awon, TBH lisud man diay mag maintain ug long hair labi na sa atoa climate na perting inita ug humid kaayo, gastos sad sa mga moisturizing shampoos and conditioners, I can see why dagko jud kaayo ug gasto ang mga babe sa ilaha buhok which I don't mind man doing kay I always see long hair as in investment in personal style. Unya kung dili jud ka mo invest ug products dali jud ma ilhan kay mo kalkag/frizzy imo buhok.
Enter Medicine pag 2021 ako first year majority online class lang and mo agto lang mi sa school to have pen and paper examinations even then daghan kaayo restrictions gihapon so wala ray ni badlong nako sa ako long hair, akoa man sad to i bun so dili kaayo ma ilhan dayon na long hair ko. Around Second semester which was 2022 I Started experimenting na with various styles, first is ako lang ipa cut ang tips para ma wala ang split ends (di ko expert ani na part hehehe), I experimented with shoulder length hair para ma half bun lang nako pina Eren Yaeger kadtung padung na siya mo attack sa Marley (I think diri ni dapita ni trending iya buhok ug ang main conflict sa anime), but still ago gihapin gipa tubo kay ganahan jud ko mag long hair kay it compliments my face really well.
Enter 2023 Second year first sem, dira na nag start ug badlong ang mga faculty nako about my long hair pero I usually just brush it off and it kinda helps the fact na irreg student ko sa Medicine so I only have a few subjects and dili ko permi makita sa school, didto ko nag experiment ug wolfcuts which i also liked kay again, mo bagay siya sa ako nawng, dili sad siya gubot tanawun unlike sa long hair, limpyo ug porma ang wolfcut plus nice sad ang silhouette iya gi give off and still naa gihapon mo badlong nako apil amo dean, ganahan sa amo dean na dapat kung magpa putol ko ug buhok naay clippers involved (pero wala siya ni mention ana, gi hatagan ra ko niya ug example in one of the faculties working) TBH di nako ganahan mo balik sa clippers kay the long to medium hairstyle kinda grew on me na and it gives me agency to express myself, di sad nako ma blame if lahi ang idea sa amoa dean about having a clean looking cut since old school man siya and her idea is like those sa mga military men na pina high fade and all.
Going to 2024 and now I finally decided na ipa cut jud ako hair, although I don't have a plan to use clippers I would go to a stylist and I would probably ask na ipa gamay lang sguru ako wolfcut to the point na dili siya taas tanawun pero once mo tubo mo porma dayon siya ug woldcut pero undecided pa ko ana na part. TBH I'm currently looking for hairstyles na clean pero dili involve ug clippers and naa gihapon wave ako buhok and all that. Like I said I don't wanna go back to catholic school boys haircut na paminaw nako mura ko ug neutered or gi ligate, I want a more free hairstyle which gives agency to express myself at the same time I also want to consider what my superiors want since student pa man ko
Kamo guys unsa unsa ma recommend ani na dilemma and to someone who also had a similar experience pwede sad mo mu share and unsa inyo mindset about ana
P.S. pasensya na nag sagol ako English ig bisaya mas maka express man gud ko ug ingani hehehehehe

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

The only Middle Phrygian inscription is also one of the longest ones known. Its interpretation is dependent on the translation of several words that I don’t feel have been analyzed correctly. The word manka ‘stele’ (Obrador-Cursach 2018) never needs to have this meaning and many of its attestations can not be translated this way without intensely forced interpretations. For example, Obrador-Cursach says that mankēs must be dative in 8.1 (to mean ‘harm to this grave and to this stele’) when this is obviously not the normal ending (-ay / -ai would be expected), so he says the genitive was “confused” with a dative. Why only for this one word? In the same way, manka is claimed to also be dative in 64.1, and come from *mankāi with a long diphthong *āi > ā. It is not likely that these needs for special analysis (or pleading) would cluster around manka- by chance, among other problems (below). Instead, it seems clear these forms are not in the dative and can not be read ‘to the stele’, etc., but as ‘man’ in phrases for ‘whoever (should harm this tomb’, etc. Obrador-Cursach’s *me:n-kaH2 ‘memorial’ also would need ē-grade for no clear reason, and there is no evidence of similar words in other IE. My idea allows a new etymology to be found that fits the sounds and context. The only explanation for these problems is that a nom. mankan / manka / manke / mankēs existed, with *-ēn / *-ān likely the oldest form (with later dissimilation and/or analogy, or partly due to Ph. sound changes). It is possible that manka ‘stele’ existed separate from mankan ‘man’, but all examples I have examined seem to fit manka(n) ‘man’ alone, and I will not look further into it here.
​
New Phrygian inscriptions are classified as in Obrador-Cursach (Haas in parentheses); only 1 Middle Phrygian inscription :
​
MPhr-01 (W-11)
manka mekas sas kiuin en ke bilatede-
nan nekoinoun : pokraiou kē gloureos gamenoun
sa soroi mati makran : blaskon ke takris ke loun-
iou mrotis lapta mati a oinoun : nikostratos
kleumakhoi miros aidomenou matin kisuis : mo-
kros uitan partias plade por koroos ..-
ros pantēs : penniti ios koroan detoun
soun omasta omnisitous
​
Here, the first sentence (divided by : with each 17 syllables long) would be:
​
A great man has departed from here and into the beloved-land/paradise of the dead.
​
A great man (manka mekas) has departed (kiuin) from here (sas) and (ke) into (en) the beloved-land/paradise (bilatedenan) of the dead (nekoinoun).
​
There is no other possible interpretation within IE that would make sense, and a long compound like bilatedenan that can only be from *bhilo- ‘beloved / dear’ and nekoinoun that must be from *nek^- (likely *nek^onyo-s ‘dead (man)’ by analogy with pokgonio- ‘the dead?’) support its funerary context and the need for each less certain word to have the meanings I’ve given. If manka mekas ‘big stele’ existed, it would have no subject that fit the context, and the lack of any good translation until now seems to show this is an impossible translation. The sources of my translations not previously known :
​
*mangyo- ‘man’ > PSlavic *monžjo- > OCS mǫžĭ, R. muž; Proto-Uralic *man’c’V > F. mies, Mi. man’s’i, OHn. mogy-, H. magy-
*mangyo:n > Greek *mazṓn, Amazṓn ‘Amazon’ < ‘*without men’
*mangyo:n > *manke:n > mankan (with *yo: > *e: before known *e: > *a: as in *H2ne:r > anar ‘man’)
​
This is likely the only word that had a nom. in -ān at the time, so analogy (or optional dissim. n-n > n-0 ) often changed it to manka (masc. a-stem). The forms manke / mankēs would then be nom., in a dialect with retained ē (or *e: > *æ: > a: / e: in dialects, like Greek *a: > *æ: ). If it did not merge with ā in this dialect, it would explain why after *-ēn > *-ē, *-ē > -ēs was the preferred type of analogy (since manke did not fit into any paradigm). This is impossible to fit into an original fem. a-stem, along with the problems above. When manke and mankēs appear in the same position in 2 sentences, there is no way to reasonably claim that -e in one came from *-āi, since that leaves -ēs without any source. If -ēs is somehow genitive used as a dative, that would leave -e without any source. It would make no sense for these and other oddities to be due to several unrelated errors or unknown changes; they add up to the need for a new analysis.
​
sas ‘from here’ < *taH2-(a)s (fem. of m. *so ‘this’, acc. *to-m, etc.)
gen./abl. used to imply location
​
bilate-denan ‘the beloved-land/paradise’. This clearly seems to be a (poetic?) word for ‘heaven’.
*bhilo- > G. phílos ‘one’s own / friend / deaworthy’
*bhiliyos > G. phílios ‘friendly / beloved’, *bhil-aH2- ‘to love / bless?’, *bhil-aH2-to- ‘(be)loved / blessed’
*dheH1-mn- > Av. dāman- ‘dwelling / (pl) creation/creatures’
​
nekoinoun ‘of the dead’ (gen. pl)
from *nek^onyo-s ‘dead (man)’, formed by analogy with pokgonio- ‘the dead?’ and/or *ghdhonyo-s ‘(living) man’
PIE *dhg^hmVlo- > Greek khthamalós ‘on the ground / low’, Phrygian *ðγ^ǝmǝlo- > *zγ^ǝmǝlo- > *zj^ǝmǝlo- > szomolo- \ zomolo- \ zemelo- ‘man (mortal) / *lowly > slave’, *dhg^homyo- > Greek khthónios ‘under the earth’, *upo- > Phrygian pokgonio- ‘the dead? / (the) buried?’
​
kiuin = [kiwin] ‘(has?) departed’ < *kyewet
*kyew- > Skt. cyav- \ cyu-, OP ašiyava ‘set out’, Arm. č’u ‘departure / journey’, G. -(s)seúomai ‘rush / hurry’
​
The optional change of *-t > -n is not theoretically impossible. However, it is also possible that the pl. *-nt became both -n or -t (either in dialects or by sandhi), allowing analogy to extend pl. -n / -t to change sng. -t to -t- / -n. Not only is there no other pl. subject available if -n came from *-nt, but no other word that might otherwise be the verb. This 3sng. -n is also seen in 41.3 (that has far too many words ending in -n, 2 of which must be verbs, and no pl. nouns, to make sense without 3sng -t / -n ).
​
​
To make sure this manka(n) ‘man’ is correct, look at other examples of its use :
​
8.1 (86)
ios ni semoun k[nou]-
mani kakoun add[a]-
ket aini mankēs
​
If some man should do harm to this grave…
​
If (ni… aini) some man (ios… mankēs) should do (add[a]ket) harm (kakoun) to this grave (semoun k[nou]mani)…
​
Here, mankēs looks like a nom. and fits context. If ios mankēs were not a unit (bordering the phrase), mankēs would need to be dat. (if part of “k[nou]mani… mankēs ‘to grave or stele’”), for which no reasonable interpretation would fit. Obrador-Cursach claims this DOES fit due to (ai)ni… aini being used to coordinate 2 nouns or phrases, but he also says it does not always act this way or have any specific meaning (sometimes just the first word in a sentence, apparently only introducing the rest). The use of (ai)ni… aini / ayni(y)… ayni(y) / etc. in these cases seems to modify *ios mankēs ‘(this) man’, etc., to create ios ni… aini mankēs ‘whichever man / whoever’, with repetition having a purpose similar to PIE *kWid-kWid ‘whatever’, etc. This is probably just specifying which meaning of *ios mankēs is intended, since the same type exists without doubled ()ni in:
​
64.1 (81)
ios ni sa tou manka kakoun addaket
​
​
This also applies to kos… manka :
​
11.2 (18)
aini kos seoun knoumanei k-
akoun addaket aini manka beo-
s ioi me totossei?t?i sarnan
​
If some man should do harm to this grave, may Sarnan not give him bread.
​
Again, there is no reason to see manka as dative here. PIE *kWo-s > kos seems clear, but these kW-words are not usually used for ‘whoever’ or ‘some man’ by themselves. Here, aini… aini… appear before each word I claim is bound together in meaning by them. If these words were just PART of 2 phrases each coordinated by aini, they would not always need to appear directly adjacent to them. It also seems unlikely these translations of mine would be possible if manka as ‘stele’ were needed.
​
​
There is another word that both must mean ‘stele’, has the proper case ending, and appears along with manke (showing that it can not mean ‘stele’) :
​
17.5 (91) = white marble door-stele
​
[ios ni se]mon [knoumanei]
[k]akoui[n a]bberetoi ani
astai sa m[ank]e [tit]-
tetikmenos eitou
​
Whichever man / Whoever should bring harm to this grave or stele, let him be cursed.
​
Whichever man (ios manke) should bring (abberetoi) harm ([k]akoui[n]) to this grave (knoumanei) or stele (astai), let him be (eitou) cursed (tetikmenos).
​
*Hak^to- ‘pointed / raised (object)’ > G. aktḗ ‘headland/cape/promontory / raised place’, Ph. asta- ‘stake? / point? / stele?’
​
Since -ai shows that astai is dative, its presence in [knoumanei]… astai makes more sense than manke somehow being dative, with yet another ending that doesn’t fit the standard translation. The presence of ani (not aini) and astai sa (not sai) shows that ai > a: was in the process of happening, but not complete.
​
​
Another inscription is impossible to translate with *manka- ‘stele’. Here, mankan actually appears with the ending -n, making its coordination with knouman ‘grave’ possible for once (unlike all previous examples), but, of course, since mankēn must be nom., there is again no reason to take mankan as from *manka- with acc. -n. The presence of clear datives xeuneoi & bratere can only come from *ksenwiyo- ‘stranger’ & *bhraH2ter- ‘brother’, showing that ‘to brother [and] stranger’ must exist (parallel to curses with ‘in the sight of god & men’, etc.). This requires one word here to be a curse, likely equivalent to a known word. If optional *-d- > -d- / -t- is real (*wedo:r ‘water’ > Ph. bédu, *podms > podas ‘feet (acc)’), ddikeseian : tetik- would imply analogical assimilation in reduplication (like Celtiberian *didH3- > *dizo- > zizo- ‘give’). Loss of unstressed -V- seems uncommon but real, seen by spellings that are unlikely to be mistakes (manka / mnka, baba / bba, ddik- / tetik-). There is no need to emend this to *adik- or *edik- (against Nikolaev 2023). The first line, as semoun knouman ad ithrerak, also should be divided in this way (not *adithrerak ) both to avoid creating a long word that need not exist and to allow a phrase from (with sandhi) *ad semoun knouman ad ithrerak. Since *th must have existed in *pentH2- > *penth- > penn- ‘find’ (Obrador-Cursach 2020), the -thr- here is not odd, but it would have few possible causes. There is no reason why *sr > thr would not work, so if an itherak is (like knouman) an object that should not be harmed in religious context, and -e- shows it was a compound of an o-stem, there is only one stem found in Greek that begins with *is()ro- and ends in *()ag()-. For maimarēan, a reduplicated *mar-mar- would undergo optional r-r > y-r / r-y (as in G. *(s)mr-tu(ro)- ‘knowing’ > G. mártur \ márturos \ maîtus \ Cr. maíturs ‘witness’, *mol-mol- > moimúllō ‘*grind the teeth (in displeasure) > grimace’, and maybe *prork- > proikós / prókoos ‘timid/cowering / beggar’). Together :
​
41.3 (31)
as semoun knouman ad ithrerak
xeuneoi ddikeseian
mankan ian estaes bratere
maimarēan
​
Whichever man (mankan ian) should do harm (maimarēan) to this (as semoun) grave (knouman) [and] to (ad) the container of offerings (ithrerak)
let him be cursed (ddikeseian) by brother (bratere) [and] by stranger (xeuneoi) forever (estaes).
​
mankan ian ‘whichever man’
The endings here (only) are both analogically -an (with ios… in others), likely because not separated by aini…, etc.
​
*merH-ye-? > Gmc. *marjana- > ON merja ‘crush’
*merH-? > *mr-mrH- > OR -moromradi ‘gnaw’, Ph. maimarēan ‘should he do harm’
​
*H2isH1ro- ‘strong / powerful’ > ‘holy’, G. hierāgéō ‘carry offerings’
*H2ag^- > *Rag^- > -rak; Ph. ithrerak ‘container of offerings’
For H2 as uvular X / R, see (Whalen 2024).
​
G. esaeí ‘forever’
*ek^s *Hayw-ei > *etsadźwei > *estawezd > estaes
(likely that nom. *Hayu > *adźu with analogy in rest of paradigm)
​
​
*y > h / z in Greek does not seem regular. For other shared changes in Ph. and Greek dialects (or just optionality), see :
​
Ph. bh / dh / gh > b / d / g
Mac. bh / dh / gh > b / d / g
​
Ph. b / d / g > p / t / k
Mac., Arc. g > k
Neither of these is certainly regular (*wedo:r > Ph. bédu )
beos / békos < *bhH2gos- ?
This might show that some *-g- were lost ( > fricative first) before later *g > k
​
Ph. *e: > a: (*H2ne:r > anar, *we:sus > vasus ‘good’)
Dor. *e: > a: ? (*dye:m > Zā́n ?; G. pēdós, Dor. pādos ‘blade of an oar’ ?)
If hyper-Doric -a:- is the result of a sound change, seeing the same in Ph. is odd. Neither seems regular, and compare strange but clear:
*meH ‘don’t’ > Ph. me, Mess. ma
Whatever the cause, seeing it in both Mess. (clearly close to Alb.) and NOT in Ph. when e: > a: is common there makes regularity hard to find.
​
-kn- > -gn- (both = -ŋn- ?)
? G. orúk- ‘dig (up)’, órugma ‘trench’; sphákos ‘apple sage’, sphágnos ‘kind of bush’; dáknō ‘bite’, dágmnos ‘pitiable’
Ph. bugnos ‘property’, Skt. bhoj- ‘enjoy / make enjoy / make use of’, bhujyú- ‘wealthy’
This obviously has only one IE source, bugnos < *bheug-, yet believing that *g > k is regular makes Obrador-Cursach say nothing more about it (given as a personal name, thus not analyzed). If -kn- > -gn- existed, even if not fully regular, it would be even more clear. In context (sest bugnos vasos Kanutiievanos ‘this is the property of the good Kanutieivais), it seems to fit (the final 2 words are known to be in gen. (vasus, Kanutieivais), so no other translation would fit).
​
sC > (s)C
G. *sl- > l-, *sm- > sm- \ m-, etc., not regular
*sl- > *l- > ol- (Ph. olitovo ‘I ask/pray’)
*dhg^hm- > Ph. szomolo- \ zemelo- ‘man (mortal) / *lowly > slave’
​
​
Kortlandt, Frederik (2016) Phrygian between Greek and Armenian
https://www.academia.edu/37962055
​
Nikolaev, Alexander (2023) New Phrygian ΔΙΚΕΣ, Greek θιγγάνω (with remarks on Miller's Law and the treatment of *Dʰs in PIE)
https://www.academia.edu/118372367
​
Obrador-Cursach, Bartomeu (2018) Lexicon of the Phrygian Inscriptions
https://www.academia.edu/36329518
​
Obrador-Cursach, Bartomeu (2020) The last verse of the Middle Phrygian epigram from Dokimeion
https://www.academia.edu/44475133
​
Whalen, Sean (2024) Greek Uvular R / q, ks > xs / kx / kR, k / x > k / kh / r, Hk > H / k / kh (Draft)
https://www.academia.edu/115369292

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

Epigram:

Ano koro to kurabe Mae ni susumeta? Kotae wa NO ja nai Dakedo tarinai Ijiwaru na "Kami" ga Bokura tamesunda Kuuseki wo umete Tsugi no suteeji e mukaou - "-OZONE-" - Vistlip
Translated:
Compared to back then, have you moved forward? The answer isn't NO but it's not enough, Some sadistic "god" is testing us, let’s fill up the empty seat and head to the next stage

Abstract
This post is related to futurism since it points out how elite or superforecasters often have modest and mundane predictions for the future, while domain experts forecast radically different futures. I ask whether we should put more credence in the experts or elite forecasters. I believe the skeptical elite forecasters make cogent arguments and apply their understanding of how technology develops to their forecasts. Morever, this post is not to affirm "doomerist" pessimistic predictions since the elite forecasters assign lower probabilities of catastrophic scenarios than the experts.
Disappointment in Technological Progress
I agree with the sentiment expressed here that nothing has really changed since the mid-2000s. I have seen constant disappointment of key technologies failing to disrupt their respective industries: renewable energy taking much longer to deploy at scale; anti-angiogenesis drugs failing to cure cancer; self-driving cars not able to deal with the challenges on the road; fusion power failing to construct even a working prototype (like ITER).
Subjects related to "futurism" and emerging technologies trigger a traumatic emotional response because elicit the feelings of perpetual disappointment that I made a resolution to rarely check this sub because most of the posted things are just vaporware and hype that will never emerge from a lab. I adamantly believe that humanity is not on the "cusp" of any technological revolution; things just improve incrementally at best for the next decade or two. Most importantly, despite any bitterness and bias, I assert that such a pessimistic outlook is justified not just through one's lived experienced but through appreciating how technologies develop and mature. For example, it is commonly observed that for any difficult project the last 10 percent of performance would require 90 percent of the developmental effort, hence one should not be too sanguine about a "successful" "proof of concept" demonstration, since the real challenge is making that be executed in real world condition and scale. Also, I am skeptical of any proposed medical breakthrough because I know that for drug candidates fortunate enough to make it to human trials, only 10 percent of drug candidates in phase I progress to an approval. It is this number that is supreme to me: I seen many drugs with promising mechanisms fail clinical trials so I do not even think the mechanism is important anymore in forecasting because we still fail to apprehend the complexities of molecule biology which may render the drug ineffective or subvert its mechanism of action; it is the base rate that matters.
Forecasters and Experts Expectations of AI Progress
What inspired me to write this is reading this Time article exploring when artificial intelligence would outsmart humans. The article opens with Herbert Simons' proclamation in 1965 that "machines will be capable, within 20 years, of doing any work that a man can do." Based on the reality in 2024, that is patently a failed prediction. Presently, many AI experts predict that within a short time frame, such as less than a decade from now, artificial general intelligence would be developed, but their facile optimism seems to disregard the history of failed prediction from past AI experts. The current "AI experts" have distinguished themselves by publishing "peer-reviewed research in prestigious AI journals and conferences in the last year".
Even though these experts are not as optimistic as tech-executives, they predict:

Among other things, the experts were asked when they thought “high-level machine intelligence,” defined as machines that could “accomplish every task better and more cheaply than human workers” without help, would be feasible. Although the individual predictions varied greatly, the average of the predictions suggests a 50% chance that this would happen by 2047, and a 10% chance by 2027. (Time, Henshall 2024)

In contrast, Henshall notes that, historically, domain experts have been no better predictions in their respective domain than random chance, and that the more famous the expert, the less accurate their predictions are. However, there are "superforecasters" who consistently make predictions about 30 percent more accurate than intelligence analysts with access to classified data, but these superforecasters have demonstrated their prowess in forecasting competitions where they made predictions for phenomena that has a time scale of two-years of less. Nevertheless, 31 superforecasts in the Existential Risk Persuasion Tournament in 2022 have later predictions of the arrival of "advanced AI" (pg. 642) than the domain experts, as the superforecasters' revised predictions have it arrive on 2060 (50th percentile), while the domain experts predict 2046 (50th percentile). ("Advanced AI" can reliably pass a 2-hour adversarial Turing test, have a high degree of competency answering questions from various fields, can answer interview problems on the APPS benchmark, and play Montezuma's Revenge on less than 100 hours of real-time game play.)
Here is one team of superforecasters pointing out the irony that the "expertise" of AI experts help researchers conduct demonstrations that are more aligned with the strengths of current AI technology since they are intimately aware of its current capabilities and weaknesses:

“Forecasters also note that some of the benchmarks that have shown the most progress (such as ImageNet) are popular and commonly targeted by AI researchers. This may be a case of AI researchers selecting for more achievable goals that better align with AI capabilities, and it could also be the case that some of these tasks aren't as interesting or are less likely to receive attention for AI researchers.” (pg. 648-650)

Moreover, Godhart's law may account for the "shifting of goal posts" since if AI accomplishes a given feat, the skeptics tend to shift the goal posts since the AI researchers will base their demonstrations on computer friendly domains (unless of course, the skeptic actually designates some difficult real world benchmark that usually involves interaction with the physical world, just as performing some economically valuable task such as prescribing medicine or driving a car at scale and an affordable cost).

“The interest coming from the Metaculus question itself, which might influence the development of AI itself and Godhart's law ("When a measure becomes a target, it ceases to be a good measure") [8]. That is, efforts in the AI community might be focused on achieving advanced AI (as defined in this question)”. The reference cited is https://en.wikipedia.org/wiki/Goodhart%27s_law. - (pg. 648)

Other rationales from them is much more prosaic, citing common trends such as the law of diminishing returns:

“One phenomenon we've observed in, e.g. driverless cars, is that the first ~90% of the problem takes about 10% of the work, with diminishing returns per unit of work the closer you get to 100%. The prompt wouldn't necessarily require 100% on each of these tests, but it might be close enough that a conventional approach to forecasting may fail to capture the amount of work required at the tail end of the project.” 337, “From the application of machine learning to the specific domain of material science [7], a possible conclusion is that a lot of recent progress can be classified as proof of concept or as low-hanging fruit. Provided this can be extrapolated to other fields, a slowdown is to be expected.” The reference cited is https://www.nature.com/articles/s41524-022-00734-6. (pg. 650)

Concerning the maximum amount of compute used to train an AI system (at a given year), the 31 superforecasters gave an estimate that 700 million petaFLOP-days of compute will be used in the most intensive AI experiment in 2050, while the 2 experts predict 2.5 trillion petaFLOP-days of compute will be used. Again, the superforecasters raise the mundane concern of the end of Moore's law to provide more computational power:

339, “The main argument for our forecasts is that hardware limitations will significantly constrain doubling time in the future, which makes extrapolating from any prior base rate hazardous.” See also 337, “Eventual end of Moore's law: we are currently reaching 2 nanometer gap transistors and the diameter of a silicon atom is about 0.2 to 0.4 nanometers. However, there might be other ways to pack more transistors. Thus it is not clear when will this trend end or how it will slow down.” (pg. 656)

Another prediction with huge divergence between experts and superforecasters is whether world GDP would increase by 15 percent for one year, where the superforecasters predict that it had a 2.75 percent chance of happening while the experts say that there is 25 percent chance (pg. 705). (This cannot happen if AI serves to displace human workers since those human workers can no longer purchase goods and services and contribute to GDP.)
Catastrophic Risk
The superforecasters have lower predictions of AI catastrophic risk, forecasting that there would be a 2.13 percent chance of "AI" being the cause of death of more than 10 percent of humans alive within a 5 year period by 2100, while the domain experts predict a 12 percent risk (pg. 258-259). A similar question whether nuclear weapons would cause a 10 percent decline in world population by 2100 has the experts giving a prediction double that of the superforecasters (8 percent vs 4 percent) (pg. 282-283). Interestingly, the superforecasters were more optimistic on the prediction on when fusion power would deliver 1 percent of all utility power in the United States (pg. 462-463).
Metaculus Exhibits the Same Phenomenon for Superforecasters
Again, this post is not articulate my own technological pessimism but merely to bring attention to the phenomenon that superforecasters have rather modest expectations for the future advances of artificial intelligence. I had wrote about this concerning a collection of question from Metaculus where the "pro forecasters" consistently expect modest progress fields such as economic productivity and decarbonization relative to the general community.
The futurists here like to speculate on the potential of new technology. Of course, there is immense potential for some given technology: utilizing the Yamanaka factors can yield pluripotent stem cells that can treat many diseases; CRISPR can cure many diseases; perovskite solar cells can accelerate the renewable energy transition; and human-level AI can revolutionize the labor market. I feel like that I cannot do that anymore because it would psychologically harm me because I KNOW that progress would not materialize quickly. Needless to say, it would be really amazing if the potential for those things can be realized easily and economically, but it seems that it take many decades to realize their potential and that there people left crestfallen in the mean time due to the incremental and underwhelming nature of progress. Since I appreciated the rather disappointing progress in commercializing autonomous vehicles, I believe that it would take a long time for AI to substantially impact the economy due to the limited abilities of current AI systems.
I suppose the superforecasters are using simple induction: they know about the AI hype in the past and how optimistic projections have failed to materialize. Since technological progress has been mediocre in the last decade and the hype rarely comes to fruition, we can expect the future to resemble the past; we will just muddle through in an epoch of technological stagnation. Expect no breakthroughs or disruptions, just as one expects no 16 seeds to prevail over the 1 seeds for a given year in the NCAA Basketball Tournament. Indeed, low probability events can happen such as UMBC (2018) or Farleigh Dickinson (2023).

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

Recently I was playing Mechanicus (the computer game) and some characters sometimes quote verses from what I assume are the Mechanicus' holy scriptures. Are there any other examples of actual verses in books? For example, some verses quoted were;
Aphorisms of the Logic-Saints, 7.91: "In the presence of the Xenos lies the invisible miasma of corruption."
Life of Archmagos Borasis, Appendix 9: "Our only objective should be death to the alien and all his works. All less is deviance from the Omnissiah creed."
Epigrams of the Saint Eukelsis 3.89: "Protect the shield of the mind, and the body will be shielded thereby."
I'm working on a Rogue Trader roleplay game for my friends to play and would love to have some verses to quote directly to them during NPC conversations!

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

for OG blooms we really fought hard noon for BINI to have more tagalog songs cause tagalog opm songs hit harder for filipino fans and we wanted to cultivate and grow their local fandom first before trying to go international (which was manman's mistake noon kasi atat sila mag international agad hence their weird/odd decisions on BINI's debut album having several multi language versions of B2W).
But now I'm confident that BINI's local fandom has already grown a lot that I think they (manman) can once again start to try pushing BINI on the International stage. My only wish if they try again for international market, is that they don't abandon BINI's grip and standing in the local fandom (local fans is still more important and should be priority, plus I think BINI has still many barriers to overcome until they reach the peak top. And when i say peak top I mean A-lister level of celebrity and musical artist). Dapat for me, in their next album it should still be 90% tagalog parin (or filipino, like try out mixing bisaya in the song or ilocano, etc) with at least one full english song.
Now some of the korean agencies usually buy songs most noticeable from nordic producers (there's a lot of them in soundcloud).
One of my favorite example of a kpop gg that came from a "nugu" korean agency that suddenly rose to fame is Fifty-Fifty, and i think you all know their breakout song that got the whole world to listen, which is Cupid.
Now Cupid was made by Swedish producers Adam von Mentzer, Mac Felländer-Tsai, and Louise Udin before siahn (their CEO) bought it for Fifty-Fifty.
Now I've tried looking for the history of these producers (i was curious). Then I got to Louise Udin's soundcloud and huhuhu may isa siyang song na sobrang bet ko that feels like a sibling song to Cupid at thesame time when i heard it i can clearly see BINI performing it.
"Find an Island" link
I really wish manman can buy this song from her for BINI. Like with some adjustment, a bit of mixing, etc,,,, i can see this turn into an international hit for BINI thesame way Fifty-Fifty broke out in the international scene because of Cupid.
The song is so addicting to me hahahaha its like a mix of cupid and pantropiko
Anyway i hope manman can try to collaborate rin with foreign nordic producers because of lot of them are so talented especially when you try deep dive in soundcloud

As I study Bisaya, I come across so many English words or concepts that I cannot convey or translate back.
I like to write fiction and stories, some of which are sci-fi, but I realize that I have to use a lot of English or Spanish loan words to talk about something related to the body.
For you med students and nurses, how do you say scientific terms in Bisaya? For examples big words like amino acids, cardiovascular system, nervous system, etc.

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

​
https://preview.redd.it/ey2hy2ynw7pc1.jpg?width=1024&format=pjpg&auto=webp&s=a5a7496a1863c30829eae9fb4371382b32616256
Hail to you, hungry goats, whomsoever you are. I must say I have been intrigued that the readership of this small little ‘community page’ appears to equal and surpass far larger communities of thousands of persons; whether these are empty scrolls from reddits frontpage or whether these are drawn from search engine results I have no idea – but I would encourage those of you who do find yourselves coming back here to join and use this place for its intended purpose, that is: to share your work using the crosspost utility and take advantage of the restrictions here to avoid the more depressing sorts of people who imagine themselves as like Platos version of Socrates; confounding the inquiries of those around them by the employ of simple sophistry and circular reasoning, of which we recognize in every way as being like Aristophanes version of Socrates, that is: when such sophistries and circular reasoning are comprehended.
Perhaps it is like the Hysterical Woman character in the Atellan Farces and Menippean Satires, where the feigned cries of outrage and efforts of emotionalistic coercion built on non-sequitur and the deliberate avoidance of proofs are only taken seriously by another character in the context of a slapstick comedy.
n.b. re: Atellan and Menippean Theatre: I have meant to cover this more fully in the ‘Satirists as the Saints of Good Conscience’, perhaps I will find the right disposition to complete that text before the summer.
Now, for the sake of being able to easily find stuff on here I will make a point to tally up the months various topics from now on; we are only one month in to this little ‘community page’ and already it feels cluttered just from the few small pieces of writing I have thought to share now and again. These are linked below.

• TED KACZYNSKI MAY HAVE BEEN A FUCKING MORON (exploring the case of ‘Surrogate Activities’ which he apparently missed)
• LOGOS IN OPPOSITION TO ETHNOS, CONTINUED. LOGOS AS A SUPERIOR CULTURE
• LOGOS IN OPPOSITION TO ETHNOS (i.e. Ethnos as inherited culture and religion)
• ILLITERACY; ILL-LITERACY – THOUGHT ON VERBAL IQ AND HOW ERRORS IN REASONING PERSIST IN US AS INDIVIDUALS AND IN SUCH SOCIETIES
• ESTHER VILAR WAS A GENIUS (a little book review of ‘The Manipulated Man’)
• EXPANDING ON VOLTAIRE : ABSURDITY IN BELIEF IS THE PREREQUISTE FOR ATROCITY IN ACTION
• THE PERPETUAL INFANTILISM OF ABRAMIC RELIGIONS: THE CONSQUENCE OF BEING CUT-OFF FROM ONES ANCESTRAL CULTURE
• INTRODUCTION TO RHETORIC AS THE DISCIPLINE OF LOGIC

Though I find more interesting those translations of mine from my favourite Ancient Roman author, Marcus Valerius Martialis AKA Martial; carrying along indirectly with our ‘Satirists as Saints’ theme, whose many hundreds of epigrams (published over a long period of time, probably written first in the AD 70’s and commentary lasting until the end of the AD 90’s covering the reigns of Roman Emperors Domitian, Nerva and Trajan, coinciding with the earliest years of Quintilian’s Imperial Academy and Martial himself being a friend of Pliny the Elder and the Younger, Marcus Antonius Primus, Juvenal and Emperor Domitian himself) often convey things which are missed in clumsier translations; or deliberately (I sometimes think) edited to death or omitted entirely by later Christian translators who did not like the meaning, or of which meanings are not apparent at all to the reader or translator who believes they are just reading a book of sarcastic jokes. This is my little hobbyhorse, admittedly, but it is not at all out of place here; indeed, Martials Epigrams have been in constant use throughout the subsequent two millennia in Latin teaching so that, for instance, when we read these things and fathom their meaning as we play with the alien Latin language our minds are undergoing the same structuring as virtually any literate person from the European Middle Ages onwards through to the Late Renaissance – and even in those instances, hinging upon a single word sometimes, where the meaning is changed; still the same lesson is ultimately conveyed to them as is conveyed to us. Outside of the limitations of contemporary barbarisms and contemporary dogmas; those social faux pas all important to one generation and considered laughable by the next, I feel that this ‘common pool’, as it were, remains one of the few scant examples of true culture which has survived down to us. To my mind M. Valerius Martials is like to we Westerners what Wu Zhi Ji Zong is to the Chinese; that is: it is one of the oldest pieces of literature which survives down to us and which occupies a place in a time where ‘everything’ began and, for being so removed from later notions of ‘literature’ is found to possess a style which almost confounds the reader as they attempt to understand what it is that they are reading; it being entirely this nor entirely that.
I tend to do these translations on the method of sortes biblicum; to open, as it were, the bible at random and pick out whatsoever comes up; I have no inclination to seriously ‘iterate’ all 1,500 of these epigrams but if I live a long life and remain comfortable enough where such pursuits now and again remain an option to me in the early hours of a morning before the working day begins I am sure I may accumulate a few of hundred at least – I have not become bored yet in fifteen or so years of doing this:

• Martial 10:4 and Martial 6:43, “He (who reads Greek Myths) reads only childrens monster stories, read my books instead – they speak of true Mankind” and “The gift of the soldier to the people (this is your gift to me, soldier)”
• Martial 8:77, “Wisdom, the most precious thing among Friends”
• Martial 8:29 and Martial 8:49, “What benefit is brevity to wisdom?” and “We love what we cannot see, but only can imagine”

val.
https://preview.redd.it/mknp2omiw7pc1.jpg?width=1024&format=pjpg&auto=webp&s=d5ce2ee06ac07e09056e82c43475e8bcebed894f

CAL IX, NON. MAR.

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue.