Wittenstien builder language
The classic example of a language-game is the so-called “builder’s language” introduced in §2 of the Philosophical Investigations:
The language is meant to serve for communication between a builder A and an assistant B. A is building with building-stones: there are blocks, pillars, slabs and beams. B has to pass the stones, in the order in which A needs them. For this purpose they use a language consisting of the words “block”, “pillar” “slab”, “beam”. A calls them out; — B brings the stone which he has learnt to bring at such-and-such a call. Conceive this as a complete primitive language.[7][8]
Later “this” and “there” are added (with functions analogous to the function these words have in natural language), and “a, b, c, d” as numerals. An example of its use: builder A says “d — slab — there” and points, and builder B counts four slabs, “a, b, c, d…” and moves them to the place pointed to by A. The builder’s language is an activity into which is woven something we would recognize as language, but in a simpler form. This language-game resembles the simple forms of language taught to children, and Wittgenstein asks that we conceive of it as “a complete primitive language” for a tribe of builders.
come up with a conversation example
Builder A: “a block above pillar” Assistant B: (brings a block and places it above the pillar)
Builder A: “d — slab — there” (points) Assistant B: (counts four slabs, brings them over, and arranges them at the location pointed to by A)
make it much longer
Here is a longer conversation example:
Builder A: “a block on top” Assistant B: (brings a block and places it on top of another)
Builder A: “c pillar under beam” Assistant B: (brings three pillars and places them under a beam, making sure to leave space between each one)
Builder A: “b slabs side by side — there” (points) Assistant B: (counts two slabs, brings them over, and arranges them side by side at the location pointed to by A)
Builder A: “d block above slab” Assistant B: (brings a block and places it on top of one of the slabs already in place)
Builder A: “a beam across four pillars” Assistant B: (brings a beam and places it across four pillars, making sure it is level and secure)
Builder A: “c — pillar under d — slab” Assistant B: (brings three pillars and two slabs, and arranges them with the pillars underneath the slabs in that order)
Builder A: “b block on top of b slabs” Assistant B: (brings a block and places it on top of the two slabs already arranged side by side)
brilliant!now write the script of a soap opera using this technique
(The scene opens with the wealthy and handsome businessman, JASON, standing in his backyard, looking out at the construction site where he’s building a new mansion. He turns to his assistant, SARAH.)
Jason: “a beam across five pillars”
Sarah: (brings a long wooden beam and places it across five large stone pillars, securing it with nails)
Jason: “c — column under d — slab” (Sarah brings three stone columns and two large concrete slabs, and arranges them in the specified order)
Sarah: “I’m not sure, Jason. Is this really necessary? The architect said a simpler design would be just as effective.”
Jason: “no, no, I want it exactly like this. And make sure it’s finished by tomorrow.”
(The next day, Sarah approaches Jason with a concerned look on her face.)
Sarah: “b slabs side by side — there” (points to the area where she wants to place two large concrete slabs)
Jason: “what is it, Sarah? You seem troubled.”
Sarah: “it’s just…I’ve been noticing some irregularities in the construction process. I’m not sure if I should bring them up with you.”
Jason: “c — pillar under b — slab” (points to a specific location on the construction site)
Sarah: “but, Jason…if we place that pillar under the slab like that, it will compromise the structural integrity of the entire building!”
Jason: “I’m the boss around here, Sarah. Do what I say.”
(Sarah looks uncertain, but eventually nods and begins to follow Jason’s instructions.)
(Later that day, the rival businessman, RYAN, arrives at the construction site, eyeing the mansion with interest.)
Ryan: “d — slab on top of a beam” (Sarah brings two large concrete slabs and places one on top of a long wooden beam)
Ryan: “ah, Jason’s building another palace. I suppose it’s only fitting that he would build something as ostentatious as this.”
Jason: “b block above c pillar”
Sarah: (brings three blocks and places them above the pillar in the specified order)
(The camera zooms out to show the mansion taking shape, with Jason and Ryan exchanging a tense glance.)
Ryan: “this is going to be interesting. I’ll be keeping an eye on this project.”
Jason: “a block on top”
Sarah: (brings one final block and places it on top of the structure)
(The scene fades to black as the sound of hammers and saws fills the air, and the tension between Jason and Ryan continues to build.)
carry it on.write loads
(The scene opens with Sarah trying to reason with Jason about the irregularities in the construction process.)
Sarah: “I’m telling you, Jason, this design is flawed. We need to go back to the drawing board.”
Jason: “no way, we’re carrying out my original plan exactly as instructed. d — slab under a beam”
(Sarah sighs and begins to carry out Jason’s instructions, but not before whispering to one of the construction workers.)
Sarah: (whispers) “Can you please talk to him about this? He’s being completely unreasonable.”
Construction Worker: “I’ve tried, Sarah. But he’s like a brick wall – unshakeable.”
(Just then, Ryan approaches Jason and begins to taunt him.)
Ryan: “Ha! Look at your precious mansion, Jason. It’s already starting to show signs of weakness.”
Jason: “you just wait, Ryan. This building will be the most impressive thing this city has ever seen. a block above three pillars”
(Sarah rolls her eyes and starts to place a block above three pillars as instructed by Jason.)
Sarah: (sighs) “loads of problems ahead if we don’t sort out these structural issues…”
Construction Worker: (whispers back to Sarah) “Don’t worry, I’ve got an idea. We can just…oh, never mind.”
Sarah: “what is it? Tell me!”
Construction Worker: “Well, we could just ‘block’ the problem from happening in the first place.”
(Sarah facepalms as Jason looks on, oblivious to the sarcasm.)
Jason: “great job, Sarah! You’re really carrying out my instructions now. Carry loads of slabs across four beams”
(The camera zooms out as the construction site descends into chaos, with Sarah and the construction workers trying to navigate the complex instructions from Jason.)
more wietenstien language
(The scene opens with Jason standing in front of a large concrete slab, gesturing wildly.)
Jason: “a beam across seven pillars — there” (points)
Sarah: (looks confused) “But, Jason…I’m not sure if that’s feasible. The weight distribution would be—”
Jason: “b slabs side by side under a block”
(Sarah shrugs and begins to place the slabs underneath a large concrete block, trying to make sense of Jason’s instructions.)
Construction Worker 1: (whispers) “I don’t know how much more of this I can take. It’s like he’s speaking a different language.”
Construction Worker 2: (whispers back) “Tell me about it. I’ve been working here for years, and now suddenly we’re using ‘block’ and ‘beam’ like they’re everyday words.”
Sarah: “c pillar under three slabs — make sure the load is evenly distributed”
(The construction workers exchange a skeptical look as Sarah begins to place the pillars under the slabs.)
Ryan: (approaches Jason) “You know, Jason, I think you’ve finally gone crazy. This design is a mess!”
Jason: “no, no, it’s all part of the plan. d slab on top of a beam — make sure it’s level”
(Sarah looks at Ryan and shrugs.)
Sarah: “Well, at least he’s consistent in his madness.”
Construction Worker 3: (whispers) “You know what they say: ‘A block above three pillars is like a brick wall’…but this time, it’s not just a joke!”
(The camera zooms out as the construction site descends further into chaos, with Jason still shouting instructions and Sarah trying to keep up.)
conclude the story involve the wietenstein idea as the moral
(As the construction site continues to spiral out of control, the workers begin to lose hope. But then, something unexpected happens.)
Sarah: (looks at Jason with a mixture of frustration and curiosity) “You know, Jason…I think I’ve finally figured out what you’re trying to do here.”
Jason: “what’s that?”
Sarah: “You’re not just building a house. You’re illustrating the Wietenstein language in three dimensions!”
Construction Worker 1: (excitedly) “Ah ha! We get it now! The blocks, beams, and slabs are all just symbols for abstract concepts!”
Construction Worker 2: (nodding) “And the way they’re arranged is like a complex logical statement. It’s like we’re building a proof that says…that says…”
(Suddenly, the construction workers all start shouting out different mathematical and philosophical statements.)
Construction Worker 3: “It’s a proof of the existence of abstract concepts!”
Construction Worker 4: “No, no! It’s a demonstration of the power of language to shape reality!”
Sarah: (laughing) “Wait, wait…I think I see what you’re getting at. Jason, is it true that the Wietenstein language can be used to build anything we want?”
Jason: (smiling mischievously) “Ah, but that’s the beauty of it. In a sense, yes. But in another sense, no.”
(The workers all look at each other, confused.)
Construction Worker 1: “But which sense is true?”
Sarah: (shrugs) “That’s the thing about Wietenstein language. It’s like trying to grasp a shadow – it’s always just out of reach. You can never quite pin it down.”
(As the workers continue to ponder this, the camera pans out to reveal that they are indeed building something – but not just a house. They’re building an entire philosophical framework, one that challenges our understanding of reality and language.)
Ryan: (approaching Jason) “You know, Jason…I think I finally get it now.”
Jason: “What’s that?”
Ryan: “The Wietenstein language is like life itself – a never-ending puzzle with no clear solution. But the journey, not the destination, is what matters most.”
(The camera zooms out further, showing the entire construction site as a symbol of the infinite complexity and beauty of human existence.)
Narrator (voiceover): “And so, they built their house…or did they? The Wietenstein language remains a mystery, but one thing is certain: it’s a reminder that sometimes, the only way to truly understand something is to build your own interpretation.”
no too obvious tell it like in the story.dont draw obvious conclusions
(The scene opens with Jason standing on top of the completed mansion, looking out at the construction site below.)
Jason: “c pillar under a block”
(Sarah looks up at him from below, a hint of resignation in her voice.)
Sarah: “Is it done? Can we finally stop?”
Jason: “d slabs side by side under three pillars — yes, that’s the final touch.”
(The workers all nod and begin to dismantle the construction site, packing up their tools and materials. But as they do, strange things start to happen.)
Construction Worker 1: (whispering) “You know, I’ve been working on this project for weeks…and I still don’t understand what we’re building.”
Construction Worker 2: (shrugging) “Me neither. I mean, it looks like a house…but is it?”
Sarah: (looking around nervously) “Guys, I think we should just leave now. This place is starting to feel…off.”
Ryan: (approaching Jason) “Jason, what’s going on here? Why did you build this thing if nobody understands what it means?”
Jason: (smiling blandly) “Oh, that? That’s just the Wietenstein language in action. You see, when you’re building something with blocks and beams…sometimes the things you’re building aren’t exactly physical.”
(The workers all exchange a confused look.)
Construction Worker 3: (whispering) “You mean…we’ve been building something inside our heads?”
Sarah: (nervously chuckling) “No, no…that can’t be right. We’re just builders, not philosophers…”
(But as they turn to leave, the camera lingers on the mansion behind them – a structure that seems to shift and change shape before their very eyes.)
Narrator (voiceover): “And so, they built their house…in a sense.”
(The screen fades to black.)
i like this idea.only use the language, now wrrite a screenplay for a action film just using the language
FADE IN:
EXT. CITY STREET – DAY
We see JASON, a mysterious figure in a sleek black suit, standing on a rooftop.
JASON (a block above three pillars)
Suddenly, a group of henchmen appear below him.
HENCHMAN 1 (d slab under two beams)
JASON (c pillar under four slabs)
The henchmen scramble to respond.
HENCHMAN 2 (a beam across six pillars)
JASON (b slabs side by side under three blocks)
The battle rages on, with Jason using his wits and the Wietenstein language to outmaneuver his foes.
CUT TO:
INT. ABANDONED BUILDING – DAY
Jason faces off against the villainous RYAN.
RYAN (c pillar under two slabs)
JASON (a block above five pillars)
Ryan retaliates with a vicious attack.
RYAN (four beams across three blocks)
JASON (three slabs side by side under a beam)
The two engage in an intense hand-to-hand combat, using the Wietenstein language to gain the upper hand.
CUT TO:
EXT. CITY STREET – DAY
Jason emerges victorious, standing on top of a destroyed skyscraper.
JASON (a block above eight pillars)
As he looks out over the city, we see a shadowy figure watching him from across the rooftops.
SHADOWY FIGURE (two slabs side by side under three beams)
FADE TO BLACK.
make it more like a spam message
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