However, there are times when you’d rather your writings not necessarily be understandable to others. Sometimes, like if you’re keeping a journal and detailing the various angsts and dramas of your life, you’d rather that the relevant parties not be able to read the entries. Similarly, if you’re keeping a grimoire (book of recipes and incantations), a book of shadows (for spells or other magical writings), or even just the list of top secret spices in your world famous marinara sauce, you’ll have a strong motivation to make sure that nobody else gets to to the information. In this sort of a situation, there’s a variety of different ways of going about hiding or obscuring your writing, even though you’re using the same language that everybody around you speaks.

Writing without being read

Now, assuming that you’re writing a physical document, the first, and most simple, is by hiding it. You could write your marinara sauce recipe out in perfectly understandable english, but if it’s locked in a safe at the bottom of the Atlantic, nobody will be able to read it. Similarly, if you keep your diary in a locked box, or even just have a lock on the cover, it’ll be safe from prying eyes.

However, hiding the document can fail. It’s really easy to go and answer the door, leaving your journal in plain sight for any offendable parties to find. Not to mention the fact that all locks are breakable, and if the only thing between your neighbor and your marinara sauce recipe is a cloth and cardboard locking journal, your recipe is practically already stolen.

So, the next step is to somehow hide the writing itself. Things like disappearing invisible ink or ink that’s only exposed with certain light sources are wonderful at this sort of thing. Similarly, you could use some sort of steganography (hiding information within other information), maybe putting a microdot on the page, or making the first letter of every word spell out your real meaning.

These methods have their downfalls too, though. Invisible ink and microdots require specialized methods or technologies, and aren’t really practical to everyday use. Besides, sooner or later, people will notice the UV lamp on your desk and start to wonder why you keep so many blank journals. If you do a “the first letter of every word” sort of thing, then you’ll end up having to write whole paragraphs of gibberish to communicate even the smallest of concepts, and even then, it’ll betray that there’s something else going on.

You could certainly go all out and start using some sort of cipher. Switch z for a, y for b, and so on, until eventually you’ve replaced the whole alphabet with an alternative one. Perhaps you could even go deeper, using some of the more innovative sorts of cryptography out there. (For a great, understandable book on cryptography, check out Simon Singh’s The Code Book). But, encrypting your writing takes forever to encode and decode, and it’s very unlikely that you’ll ever be able to read and write in a cipher fluidly. Besides, those, too, are crackable.

Perhaps the most complex sort of cipher would be to just use the writing system (and even some vocabulary) from another language. If you’re, for instance, writing English using the Cyrillic alphabet from Russian, it’ll be pretty incomprehensible to your neighbor. However, if you come across somebody who speaks English and reads Russian, your system falls apart.

So, what option does this leave you?

Enter Cryptorthography

‘Cryptorthography’ is a word I’ve made up to describe the creation of secret writing systems. It’s a combination of cryptos (Greek for ‘hidden’), and then the linguistics term ‘orthography’, referring to the writing system and writing rules of a language. ‘orthography’ also comes from Greek, being a combination of orthos (‘correct’) and graphein (‘to write’)

So, how does one practice cryptorthography? It’s actually fairly simple. You just take a given language (or languages), and create a new writing system for it which only you (or a few select people) can understand. This way, you could leave even your most secret writings out on the kitchen table, but nobody would be able to understand them without a fair amount of contemplation or analysis.

By creating your own system, you’ll be able to write and read it without too much trouble, but it’ll be completely opaque to everybody else, no matter which language they speak. It’ll be far faster than coding or ciphers, and doesn’t need to be hidden or obscured to be secret, and since it’s all hand-written, it’ll be far less vulnerable to computer-based assaults because of the trouble of transcribing it into a computer.

Before you start writing all your personal secrets on your front door, it’s important to remember that, just like with the above systems of hiding your meaning, there are weaknesses and places where people could easily figure out what you mean. I’d like to discuss a few of these weaknesses that I’ve come up with, and offer some advice for how to harden your writing system against analysis.

Obscuring the obscure

The most simple way to do this would be just creating new letter forms for your language. If you just use a new symbol in the place of ‘a’, a new one in place of ‘b’, and so on, you’ll quickly have a text that’s unable to be read at first glance. The system would be easy to create, but I’d recommend against it. As soon as somebody started looking, they might well start noticing patterns. If they know (or suspect) that it’s English, they’ll start looking for certain patterns. If they see a single symbol alone, they’ll know, for instance, that it’s either ‘a’ or ‘I’. Similarly, two symbol words are far less common, and give them an inroads to further analysis.

If, on the other hand, you mix it up a bit, you’ll make their lives infinitely more difficult. For instance, if you were to use only the sounds of words and disregard how they’re written, it would instantly complicate analysis. So, instead of “rough”, you’d have ‘ruf’. “You” would become a two symbol sound (‘yu’), and ‘I’ would become two symbols (‘ay’). If you’d like to play it even safer, start marking all the different English vowels. With that step, you’ll confuse anybody who thinks that English only has a, e, i, o and u, and likely stop most casual inquiries.

Another good strategy is to include a few filler characters. If you include in your writing system a symbol or two that you know has no meaning, you can use it with single sound words (‘a’) to throw off analysis. Similarly, just dropping a few of those into random words will force people to try and find a correspondence for something that, well, just doesn’t exist.

While we’re being evil to any potential analysis, one of the advantages to creating a phonetic symbol set is that you can use it to write in other languages as well. If you start including random words in other languages, or substituting say, some Hindi word for their English equivalents, it’ll throw off any attempts to figure out what is what based on the phonology (sound rules) of a language.

For instance, somebody analyzing your system might know that if there are three consonants together in English at the start of a word, the first consonant is always an /s/ sound. Always. So, if they’ve decided what constitute vowels, and then find three consonants before one, they’ll know what your /s/ symbol is. That is, unless you use the Russian word “vsyo” (all) someplace in your text. Then, they’ll have at least two three-consonant clusters, and can’t use the phonology to work their way through it.

Using similar symbols to the existing system can be a double-edged sword: it can both help and hurt you. If your symbols are too similar, your system is far too easy to crack. However, I highly recommend using one or two symbols that are at least close to an existing symbol, however, I’d recommend assigning them a different sound. For instance, one might use a ‘v’ to represent the /k/ sound.

This has the wonderful effect of creating a cognitive mismatch between the system they’re trying to analyze and the system they’re using. As any English-literate learner of Russian will tell you, at first, it’s very tough to see a ‘p’ and hear an ‘r’ sound, even though that’s what Cyrillic does. It won’t stop them, but it’ll certainly make analysis that much more of a pain.

There are other ways to make life difficult for anybody analyzing your writing. If you write from right to left, you’ll create a great many problems for them, just as if you were to write vertically. Along those lines, if you remove spaces and familiar punctuation, it’s even more difficult, both for you and for them.

Also, remember that you don’t need to create an alphabet per se. You might create a syllabary like in Japanese, where the symbols each represent a different syllable (‘ra’ might have one symbol, whereas ‘re’ would have a completely different one). Also, if you’re feeling ambitious, you could make a character set, where each word has a symbol. It’d be a great many symbols, but it’d be very difficult to crack.

Finally, as common sense dictates, throw away the key. Once you’ve created your system and learned it well, hide or destroy your handy reference guide, or else understanding your writing is as easy as looking up the symbols.

It has to make sense to somebody

However, if you spend all your time trying to make reading your system tough on other people, it’s easy to make it tough on you too. There are a few easy ways to avoid this.

Perhaps one of the toughest parts of the process is actually designing the symbols. For that, I highly recommend that you make a trip over to Omniglot, a wonderful website which discusses writing systems around the world and has lots of examples. It’s a great place to blow a few hours, and will show you all the variety of systems out there.

Once you’ve got symbols, make sure you’re combining them in a way that makes sense to you. For instance, I might use a system based on phonetics, where high vowels (like in beet and boot) are marked above the baseline, and low vowels (bat and bot) are the same symbol, but marked below the baseline. However, you can go much more personalized. If a symbol reminds you of the shape of Cape Cod, you might use it for a ‘kay’ sound. Basically, if it makes sense to you, go for it.

Finally, keep in mind the difficulty of writing the symbols you pick. Don’t use anything more complex than necessary, because it’ll only slow you down. Similarly, if you often write with a fountain pen, try to avoid symbols with right to left strokes (assuming you’re writing left-to-right). If you’re going to use this a lot, any corners you can cut now (without making it more difficult to read) will save you a massive amount of time in the future.

Your thirteen spices are safe

If you take the time to create your own writing system and take a few easy steps to harden it, you can sure that nobody will be able to casually peruse your secret recipes and writings.

However, as with all security measures, your secrets are never completely safe. All that locks, encryption, ciphers and even cryptorthography can buy you is time. If somebody has a sample of your writing system, it’s very likely that, given enough time, they’d be able to figure it out.

So, if the CIA wants to find out the secret thirteen spices, chances are, they’ll be able to. However, a little bit of cryptorthography will go a long way towards keeping your recipes mysteriously delicious.

(PS: If this sounds interesting, stay tuned. I might well be holding some sort of a contest where people create secret writing systems and then have other people try and crack them. I’ll announce more details later, but if you’re interested, leave a comment and we’ll be in touch!)

Cross-Galactic Communication

In the series, the Galaxy is invaded by a very nasty species called the Yuuzhan Vong, who come from outside the galaxy and speak a very different language than “Basic”, the accepted trade language of Star Wars. As you might expect, the Yuuzhan Vong cannot understand Basic, and the rest of the Galaxy cannot understand the Vong. This language barrier, as you can imagine, can play a significant role in any situation.

Both sides have ways of compensating for this, though. The New Republic (those in charge of the Galaxy after the Star Wars movies) uses technology to overcome the barrier, with translator robots (“droids”) doing the talking and translating for them (one book mentions offhand that the Yuuzhan Vong language is remarkably similar to an existing language, thus, permitting translation). The Yuuzhan Vong, on the other hand, bring with them complex biotechnology (living ships, weapons, even living implants), and to solve the language problems, use a small worm embedded in the ear called a “Tizowyrm“.

A Tizowyrm understands what is said in another language, and then translates it for the host creature. This is strikingly similar to the Babel Fish in the “Hitchhiker’s Guide to the Galaxy”, a small fish that lives in the ear and translates similarly.

The Tizowyrm’s magical Phonological powers

So, the Babelfish in Hitchhiker’s guide only allowed one to understand other species. So, I would talk to the alien in English, the Babelfish would translate for them, and they would respond in their language, which would be translated for me. However, if the other party didn’t have a Babelfish, there would be vast confusion. This is, as far as translation fish go, fairly believable. If a creature such as that could exist, that wouldn’t be an unthinkable way of their functioning.The Yuuzhan Vong Tizowyrm, however, is purported to allow one to speak in the other language as well as understand it. This is where I start to grow more wary.

Sure, in theory, the Tizowyrm could read the mind of the Vong, understand what he wants to say, and then say it in Basic into his ear. However, that doesn’t mean he could instantly say it.

Imagine if I were to whisper a Russian phrase into your ear once. Do you think you could repeat it without speaking Russian? How about Chinese or Thai? Languages all have different sound systems, and just because you hear a given sound or tone, that doesn’t mean that you’re going to be able to pronounce (or even hear) it. Hearing something alone doesn’t allow you to say it. You must train your tongue and mouth to make the required motions (and strings of motions) until it becomes second nature to do so. This is one of the more difficult parts of learning a language, and this is also one of the reasons that children have a far easier time of picking up languages. They’re better able to learn the required gestures.

This also relies on the assumption that the Yuuzhan Vong are capable of producing the language at all. The entirety of the Basic-speaking Star Wars universe flows on the idea that there’s a single language which can be spoken by most species. However, this is fairly unlikely. The human vocal tract is incredibly advanced and complex, and a single change (say, in the tissue binding the tongue to the bottom of the mouth) could render entire groups of sounds unpronounceable. So, to imagine that a group of Extragalactic aliens has the required phonetic apparatus to create (or mimic) all the sounds of Basic is a little far fetched.

However, this is even more far-fetched with the Yuuzhan Vong. The vong also have a disturbing tendency towards self-mutilation. One prominent leader, Warmaster Tsavong Lah, is described as having lips that have been cut into small strips and which flail about when he talks. Somehow, though, he seems to have no trouble with bilabial consonants (which involve the use of both lips) such as “b” and “p” when speaking Basic in the book. Similarly, I suspect that Vong with a ritually split tongue would have trouble with laterals (like ‘L’) among other sounds.

The Tizowyrm, then, must be truly magical. Not only does it translate complex, culturally loaded statements with ease, but it allows one to overcome his or her language background and use sounds correctly to speak “the language of the infidels”.

Then again, maybe this is just a fictional Sci-Fi series written for Star Wars fans and not Phonetics nerds. Yeah, that’s probably it after all.

I’ve been slowly making my way through the several-thousand-page series of Star Wars: New Jedi Order books. They’re certainly an entertaining read, and a great way to relax after analyzing language for a decent part of the day. The other day, I was reading Star by Star, one of the books in the New Jedi Order, and had one of those “linguist moments”.

Throughout the Star Wars extended universe, there is frequent mention of the Ysalamiri lizard. This lizard is unique in that, in the Star Wars galaxy, it can completely negate the effects of the Force in a small bubble around it. Its presence is frequently used as a plot device, but they never once show up in the movies.

My problem was that I couldn’t figure out how to pronounce their name, and none of my usual sources had a pronunciation guide. There are two options, based on the spelling and my particular reading of the word:

1) yi-sal-a-mee-ree (IPA below)

2) i-sal-a-mee-ree (IPA below)

Because the letter “Y” can be either a vowel sound (“fishy”) or a consonant/semivowel (“yet”), we can’t be sure just from looking at the word which one we’re talking about.

However, as I was reading through the book, I had a sudden “Aha!” moment and all became clear.

I’ve talked about the alternation between “a” and “an” before, and it’s a very cool phonological quirk of English (a quirk caused by rules governing the sound system). The rule states that “a” becomes “an” before a spoken vowel. So you have “a key”, “an object”, and, because it starts with a glide, not a vowel, “a university“.

I stumbled across this passage in “Star by Star”:

… Jaina glimpsed a lizardlike shape clinging to the back of the tree… “An ysalamiri,” Jaina said loudly.

“An ysalamiri”! Because this rule is pretty consistent throughout the language (and adding an “N” isn’t a typo likely to survive editing), we can now safely assume that “ysalamiri” is pronounced with a vowel at the beginning of the word (option two, i-sal-a-mee-ree). We can’t be sure whether that vowel is the same as in “beat” or in “bit”, but hey, every little bit helps.

So, much like the Force, Linguistics is everywhere, in all endeavors, academic and recreational, big and small. Now, I just need to learn to use Linguistics to lift an X-Wing. Maybe I could turn a lightsaber hilt into a voice recorder…

Right now, in-Game languages are usually rather disappointing to a Linguist.

For instance, in Star Wars: Knights of the Old Republic, the main character interacts with a variety of different human and alien species on a variety of planets. Although most interaction with humans (and a few specific non-human characters) takes place in English with actors reading lines, when an alien speaks, a soundbite of their “language” is played and a subtitle is shown on the screen. Now, this is cool, and the fact that every species that speaks has a different and recognizable sound and sound system in those soundbite is a really cool thing. However, it’s literally just two or three soundbites. So, every time your garden variety Twi’Lek speaks, one of the two or three twi’lek soundbites is played, no matter what’s being said and who’s saying it. So, although the Twi’Lek language in KOTOR has a sound system, there’s no actual grammar.

In game languages can get more complex, though. In Ambrosia Software’s Escape Velocity: Nova, they have a slightly different philosophy. Although all communication is through text, they’ve managed to work some interesting language use in. There are several species living in the same galaxy, and the naming of both the planets and the ports on them is usually reflective of the language of the species. Looking at a Galactic map, one can pretty easily distinguish the different governmental regions of control just by the planet name. For example, The Polaris (in purple) generally have names with a single syllable, an ” ‘ “, and a cluster of syllables, whereas the Wraith (grey, at the top of the map) name their planets with a syllable, a ” ‘ “, a capitalized orthographic vowel, ” ‘ “, and a syllable cluster.

However, the really interesting stuff happens when you look more closely at the Polaris planets and personal names in EV Nova. In the game, they are explained as having Five Castes. If you learn the different castes and the naming system, then just by looking at the map, you can tell instantly which of the castes controls a given system, which offers a huge gameplay advantage. Say, for instance, you needed to purchase an armor upgrade. Knowing that military hardware is sold by the Warrior caste (the Nil’Kemoria), you could look at the map for the nearest system prefixed with “Nil’” indicating warrior caste control, and go there. Similarly, it’s easy to determine where to go for cheap medical supplies (at the Healer caste planets, with “P’”). So, learning elements of the Polaris language in EV Nova is a boon to the gamer, and I applaud the folks at Ambrosia for taking the time to actually make something (no matter how small) out of the language, rather than just leaving it as creative gibberish.

Some games have interesting language features that aren’t even meant to be interesting. In Star Wars: Jedi Knight, Jedi Academy they have the wonderful option to have all dialogue, interface features, and subtitles in English or Spanish. Being a language nerd, I usually leave it set to Spanish. The translations are very good in general, with only a few comical aspects. Notable among them is the fact that Jedi, pronounced “Jed-eye” in English, is pronounced “Yed-ee” in the Spanish version). It’s also quite funny to see a Rodian speaking Spanish, with the distinctive Rodian pitch and filter.

So, oftentimes, games (especially in Sci-Fi and fantasy) will give a nod to the existence of non-human language, but very seldom will they actually go through the trouble to make that language into more than just background noise. However, those games that do choose to utilize some variety of actual, meaningful created language create a unique experience for the gamer, and deserve commendation.

These are just a few salient examples from the vast world of gaming. If you’ve got another example, leave a comment or send me an email and I’ll give it mention, or, if you’re space-travel enabled, just stop by Ling’angma, home planet to the Linguist caste. You might not want to bring any grammarians, though.

Also: If you look at the sidebar on the main page, you’ll notice I’ve added a new feature, the Link of the Moment. This is just a random language, life, or computing link that I’ve found interesting and bookmarked here. It changes every time you refresh the page, so come back often. :)

So, let’s say that I wanted to translate a modern Spanish novel into English. For the purposes of this article, I’ll be using the terms “source text/language” to refer to the Spanish version, and using “target language/text” to refer to the English translation.
Translation would be far more simple if all languages were identical, abstract sets of words, used identically by everybody. If this were the case, every word construction, tense, or framing would have an exact duplicate in every other language in the world. The English word ‘Table’ would be exactly the same as the Spanish ‘Mesa’, and every time you saw ‘Table’, you could just switch it out with ‘mesa’. So, ideally, I would sit down with my dictionary and my reference grammar and start replacing English words, sentences, and paragraphs with their Spanish “equivalents”. Once this substitution was complete, I would have a perfectly accurate copy of the original text which was completely understandable to a speaker of the target language.

As convenient as that would be, it’s not remotely true. Even in our quick example, ‘Table’ in English has a number of different meanings, and not all are covered by the Spanish ‘mesa’ (ranging from a Data Table, to “tabling” a resolutions). No two languages are exactly equivalent, and although some words might have quick and easy equivalents in both the source and target language, the vast majority of words and constructions will require the translator to make some decisions.

When these decisions start being made, there’s an opportunity for bias. Let’s say I come across the Spanish phrase “Mas vale pajaro en mano que ciento volando” in the novel. I need to make a choice here, as to how to translate it. Literally, it means “A bird in the hand is worth more than a hundred flying.” However, English does have a very, very similar expression, “a bird in the hand is worth two in the bush”. So, I can translate literally, and favor the Source Language (Spanish) phrasing, or I can translate using the English idiom, and favor the Target Language.

In this case, the main difference will be in terms of native target language speaker’s perception. Using the literal Spanish would be what translators often refer to as a “difference” preference or “favoring the source language “, the choice to use different phrasing and, even through the translation, emphasize that the source language and the author’s words are different than how an English speaker might have written things. On the other side, using the English [[idiom]] might be referred to as “identity” preference (or “favoring the target language”), where the translator tries to make the target language text as accessible, understandable, and familiar as possible to target language readers.

This example is fairly simple, in that really, a native English speaker will understand what the phrase means even if it’s translated literally. However, imagine you’re given an idiom like “Estar como perro en barrio ajeno”, literally, “to be like a dog in a neighbor’s yard”. If one were to translate that literally, the target language readers might understand the words, but miss the meaning entirely. However, Ii one translated it (more accurately) as “to be like a fish out of water”, the target language reader would have a much easier grasp on the meaning behind it.

There are always other factors at play in the decision of translating certain phrases. I’ve been learning about translation theory with one of the professors in my department, and he recently made a very interesting comment about the translation of Native American stories and literatures. We were going through one of his translations of an [[Arapaho]] speech, and we stumbled across a particularly colorful phrase (along the lines of “walking into the other group’s camp”). He translated it literally for me, but he put it into the English version as a single English word, “assimilation”. When I asked why, he explained that he didn’t want to make it sound like the stereotypical, disney-style Native American speech. He said that although the Arapaho often do use metaphors related to the Old Ways, hunting and nature, he often chooses not to translate them literally, because he feels it really just reinforces the stereotype of how their language sounds, rather than the actual message of the story or speech.

So, every translation has a bit of bias. However, that isn’t necessarily a bad thing. This is a choice, and a tool in the hands of a skilled translator, and very seldom is a translation done favoring ONLY the target or source languages. Although translation theorists will likely argue this point, I suspect that the most accurate translation will likely fall somewhere in the middle, with a mix of difference and identity.
Sometimes, you need to favor the target language, to make the book clear, understandable, and readable to the readers, but sometimes you need to favor the source language, if for no other reason, just to remind the reader that the original work wasn’t written two weeks ago in Des Moines.

Suggested Readings:

Introducing Translation Studies by Jeremy Munday : A good primer on translation theory and many of the issues discussed here (albeit with a generalized target language bias)

The Brothers Karamazov by Fyodor Dostoevsky, Pevear and Volokhonsky translation: A great book, and a more Target language biased translation.

The Brothers Karamazov by Fyodor Dostoevsky, Constance Garnett translation: The same great book, but this is a more source language favoring translation.

This book is a science-fiction work, taking place in the Exapnded Star Wars universe, following the adventures of Wedge Antilles, Corran Horn, and the elite pilots of Rogue Squadron. The squadron itself is composed of many different species, and today’s example comes from Ooryl Qyrgg, a Gand pilot, and is paraphrased below.

Corran nodded in what he hoped was a friendly manner. “Why do you speak of yourself in the third person?”

…

“On Gand it is held that names are important. Any Gand who has acheived nothing is called Gand. Before Ooryl was given Ooryl’s name, Ooryl was known as Gand. Once Ooryl had made a mark in the world, Ooryl was given the Qyrgg surname. Later, by mastering the difficulties of astronavigation and flight, Ooryl earned the right to be called Ooryl.”

“This still does not explain why you do not use pronouns to refer to yourself.”

“Qyrgg apologizes. On Gand only those who have achieved great things are permitted to use pronouns for self-designation. The use of such carries with it the presumption that all who hear the speech will know who the speaker is, and this assumption is only true in the case where the speaker is so great, the speaker’s name is known to all.”

…

“Then why do you sometimes refer to yourself by your family name, and sometimes by your own name?”

The Gand looked down for a moment and his mouth parts closed. “When a Gand has given offense, or is ashamed of actions, this diminishes the gains made in life. Name reduction is an act of contrition, an apology. Ooryl would like to think Ooryl will not often be called Qyrgg, but Qyrgg knows the likelihood of this is slender.”

I’ve discussed the power of names in the past, but this is taking the idea to a whole new level. I’ve never heard of a language, culture, or speech community where a name is not assigned to a person until they “earn” it, and would be fascinated to hear about it if anybody has. However, the idea of name changes with great accomplishments (or great demerits) is not uncommon. In some Native American cultures, a child changes names at the end of adolescence, once he or she has proven his or her worth and become an adult. In addition, a warrior winning a great battle may be given a new name to celebrate the accomplishment. However, to the best of my knowledge, there isn’t a system by which these names can be given and removed as frequently and non-chalantly as in Stackpole’s view of the Gand cutlure.

The idea of first-person pronoun use being presumptuous is also an interesting concept. Certainly, there’s nothing wrong with the first-person pronoun in American English, and using a Third-person form of address would likely be a barrier to communication in everyday life (I suspect that “Excuse me, Will has lost Will’s number, can Will have yours?” just wouldn’t go over as well). It is worth noting, however, that this subsitution does occur in some specialized sorts of writing, namely police incident reports and some journalistic reports.

Now, the question of “being known to all who hear the conversation” is a different matter. In most conversations in social situations where there are unknown people in a conversation, you are either introduced, or it’s perfectly acceptable to add in a casual “I’m sorry, I’ve forgotten your name?” without causing anybody to lose face. So, although using one’s full name instead of a pronoun might be useful every so often (as to reintroduce yourself to any new participants) or in some contexts (with a group of people, on a Walkie-Talkie system), the Gand strategy would likely result in a great deal more redundancy than usefulness in many of our human languages.

Although the Gand system of naming and self-reference is little more than a fascinating idea in our culture, it still serves as a great (albeit artificial) example of the necessary interaction between language and culture and the field of Sociolinguistics. However, if you do happen to stumble across a short, bug-eyed alien with a noticeable exoskeleton and a penchant for ammonia, you’d best remember this post, for the sake of interplanetary relations.