Progress signs

 

By Prof. Dr. Jesús Dumont,

President of the Independent National Syndicate of Spanish Writers

President of the International Convention of Writers in European Languages: CIELE-ICWEL

 

 

Fellows and friends:

 

It is a pleasure for me to greet you all who are attending this IX Convention that begins today in Malaga, thanks to your collaboration and presence; and, in a special manner, to Mariette Cirerol, General Executive Secretary of this Syndicate, and President of the International and Permanent Committee of the Convention, who made this possible by an endless, accurate and precise labour. I wish to show my special recognition to her and my appreciation to you all.

 

The analogical process of the thought provided guidelines to individual and sociological communication. To tell something about the world, communicate sensations, feelings and tuition on the beauty and sublimeness of the creative events, made possible the perpetuation of the word through graphic signs capable to promote  a permanent set of sounds:  phonemes of our talks, sentimental arpeggios, graphics to realize a written way on which to transit with our livings, remembrances and dreams.

 

Letters became the soul of the thought, its necessary synonymous; not only for the common language about mediate matters, but also by necessity to express artistic languages in relation with the Culture; about what is seen or presented; about objectivity, the necessary subjectivity of the human who wants to stay and remain, transforming yesterday in an unfinished present.

 

Letters are the essence of the liberty and began almost at the same time as the word, for which the running of time, more or less important, between to tell and to write what was told, has no relevant importance, scraps of centuries compared to its grandiosity.

 

From the voice to the written word there is a kind of thread that links and leads our conscience towards all social reality. The Culture is advancing and recreating through graphics and ways where yearnings are transiting; through “representation of the conscience” like Marx said, opening doors for the knowledge in a Kantian manner.

 

Writing is a mimic of the thought and sound, a perdurable gesture forme perduring in the times. It closes psychological circuits between the generator impulse of the brain and the hand that moves the writing object. Inside the calligraphic draws, lie occult anxieties, frights, passions influence, greatnesses and sorrows. Calligraphic draws   may also conserve responses for our whole somatic condition.

 

The human being before in his archaism as today, was and will be submerged in two concepts of his nature: sensible and intelligible; and also in two states of his existence: space knowledge and evolution in the time. Both concepts and both processes manifest themselves through the writing. We must not forget that any kind of communicative system comes linked to the human language that canalizes the expression in function of  the images, adequate vehicle to display the active conditions of the conscience.

 

The graphics summarize the ideological language of symbols: drawings representing elemental scenes of the life, ideographic draws of civilizations like the Egyptian that originated the hieroglyphical system; and that other form of writing with wedge forms named cuneiform. From the primitive draws to the birth of the syllabic alphabet, the writing forms of the genius Petrarch, or the typographical signs with accents  - inherited from the Rome of Cesar Augustus and used in the year 1525 by the printer Geoffrey Tory -, a whole world of knowledge is transcending and surprises, today as well as yesterday, the same humanity who made it possible.

 

The Assyrian Babylonian Empire and the Egyptian Empire used systems of syllabic transcription and signs with consonant value. In Canaan, around the XIV century before Christ, thirty cuneiform signs were used in their writing; and, following commercial routes and human settlements, this script went from Asia to the Asiatic  occidental  world,   linking  with the Indo Valley,

 

Balkans and the Aegean. Troy, Argissa (Kardhitsa?), Thessaly and Sesklo conserve some writings on ceramic tablets dated 7000 years before Christ.

 

Languages spoken by Celt, Iberian, Ligurian, German, Slave, Scythian, Thracian, Latvian, Dorians and Frank people, had the same analogical bases as the Zend (Zoroastrian)  – ancient Persian –   and the Sanskrit  - with Indo-European roots –, which means that the written word had a relation with contiguity.

 

The Aegean Religion engraved tablets in Knossos; and the Minoan civilization conserved written words, too. Odin  - divinized human being called Woutan by the Scandinavian -, invented a rectilinear alphabet of signs called “runes” that originated the runic script.

 

In any case, Cretan and Grecian literary texts mention a form of script anterior to our calculation on origin and time. In Knossos were found and kept in archives, clay bars with unknown signs, while syllabic forms were engraved on lead bars; and the ceramic disc of Phaistos contains hieroglyphic signs referred to words.

 

Anterior to the year 6000 before Christ, was in use an Aegean alphabet originated by the Arcadian-Cypriot dialect; and in the sarcophagus of Ahiram (page 16), in Byblos, XIII –XII centuries before Christ, there were inscriptions of twenty two signs, premise of the Phoenician classical alphabet adopted by the Aramaics and after by the Hebrews. This alphabet appeared in Cyprus in the middle of the IX century before Christ, adapted to the Greek and other non Semite written languages.

 

From Greece it passes to Occident; and from Occident to the Etruscans and to the Latins. Writing contains also, in the actuality, its equivalence in graphic waves: rhythm, duration and a wide range of nervous impulses counted in thousandth of seconds, in proportion with the quantity of low frequencies emitted by organs affected by some pathology.

 

I had the honour to present “Communication to the scientific world” in the Legal Medicine School of the Complutense University of Madrid; and that during the “Jornadas Internacionales Médicas sobre Deontología” (International Medical Conference on Ethics) that took place on year 1973 and were transmitted at the same time by television, about an electronic system capable to transform calligraphic signs into sounds, thus putting into light pathologies in a manner clear enough for an early diagnostic. I consider appropriate to attach to my paper one of the graphic documents we made during the investigations, because it is an original premise - unknown by the majority – that opened new biological doors to the graphic science.

 

The reprography was made in a manuscript manner on some original poem fragments. It demonstrates how the poetical rhythm maintains its equivalency in the graphic spectrum.

 

From the beginning of the said and wrote word, the humanity perpetuated herself through the times.  She maid possible an immense archive of knowledge as a second collective conscience; and, in reference with the multiple  facets of our profession,  she made also possible

poetical chants from yesterday, the accounts of the history, stories from imagination and dreams, voices representing the past, signs of distinct languages whose experiences and feelings give birth to new sensations, converting them into music and words: rhythmical sounds and lyrical transmissions about beauty and spirit.

 

 

                        Author: Jesús Dumont

 

 

                                                                   Translated into English by:

                                  Mariette Cirerol

 

 

(The sarcophagus of Ahiram is to be seen in the Spanish version)