2c:null 2d:["$","title",null,{"children":"Generative Sawndip | stevenzhou01 | Observable"}] 32:Tee6,

**1. Generative Zhuang Characters**
Using an algorithm to generate characters for the language of Zhuang ethnic minority

**Intro**
Zhuang people are a Tai-speaking ethnic group that mostly live in Southern China and Northern Vietnam. Sawndip (traditional Zhuang characters) are logograms derived from Chinese characters and used by Zhuang people in China and Vietnam for more than one thousand years. Sawndip is a Zhuang word that means "immature characters". However, Zhuang in China currently uses a new phonogram writing system based on Latin alphabets.

From Article 1 of the Universal Declaration of Human Rights in Northern Zhuang:

Sawndip (Traditional Zhuang Characters):

Modern Zhuang (Latin alphabet-based writing system used in China):
*Boux boux ma daengz lajmbwn couh miz cwyouz, cinhyenz caeuq genzli bouxboux bingzdaengj. Gyoengq vunz miz lijsing caeuq liengzsim, wngdang daih gyoengq de lumj beixnuengx ityiengh.*

The work is about using an algorithm to generate new writing characters by combining the traditional and modern Zhuang writing systems as the cultural symbol of Zhuang people.

**Research:**
1. [Cultural identity and its impact on today’s multicultural organizations, Helena Karjalainen, 2020](https://journals.sagepub.com/doi/abs/10.1177/1470595820944207?journalCode=ccma)
According to Karjalainen (2020), as several authors have observed, studies on cultural differences and the concept of cultural identity remain limited, in large part due to the influential studies of Hofstede, which led to increased interest in national cultures. Therefore, the cultural identity of ethnic minority tends to be neglected.

2. [Race, Ethnicity, Gender and Class—The Sociology of Group Conflict and Change, Healey, J., & Palriwala, R., 1998](https://www-jstor-org.ezproxy.cityu.edu.hk/stable/23620291?sid=primo&seq=1#metadata_info_tab_contents)
According to Gill(1998), in present-day sociology, a minority group refers to a group of people who experience relative disadvantage as compared to members of a dominant social group.

3.[Ferdinand de Saussure, The Editors of Encyclopaedia Britannica, 2021](https://www.britannica.com/biography/Ferdinand-de-Saussure)
Swiss linguist, Ferdinand de Saussure argued that language is a social phenomenon; and it generates meaning in a special way. Therefore, language is a significant part of the culture, which affects how we communicate and how we express ourselves.

**Related Artworks:**
1. Meaningless Chinese characters, Book From the Sky, Xu Bing

2. Writing English words in the style of Chinese characters, Square Word Calligraphy, Xu Bing

**Reference**
Britannica, T. Editors of Encyclopaedia (2021). Ferdinand de Saussure. Encyclopedia Britannica. https://www.britannica.com/biography/Ferdinand-de-Saussure

Healey, J., & Palriwala, R. (1998). Race, ethnicity, gender and class: The sociology of group conflict and change. Contributions to Indian Sociology, 32(1), 150.

Karjalainen, H. (2020). Cultural identity and its impact on today’s multicultural organizations. International Journal of Cross Cultural Management, 20(2), 249–262. https://doi.org/10.1177/1470595820944207

33:Tca5,

**2. Generating Posters for Online Movements**
Using algorithms to generate posters for online movements

**Intro**
The work will analyze the online posters on social media about the Stop Asian Hate movement. Analyze the elements of those posters, such as texts and images. Make collage posters by using the images, icons, and texts of existing posters.

I want to use this way to problematize the existing online posters of Stop Asian Hate and question if there are any conventions or common features of those posters? Is the way of making an online poster one of the problems of communicating the idea of the movement? Is it also one of the reasons why the Stop Asian Hate movement could not be as influential as other similar movements, such as Black Lives Matter.

**Research:**
1. [Activist art – Art Term，TateTate](https://www.tate.org.uk/art/art-terms/a/activist-art)
Activist art: Activist art is a term used to describe art that is grounded in the act of ‘doing’ and addresses political or social issues.

2. [Art and online activism amid the pandemic: lessons from around the world，Kandi Aryani Suwito，2020](https://theconversation.com/art-and-online-activism-amid-the-pandemic-lessons-from-around-the-world-140161)
“Arts activism — traditionally performed offline in the pre-social media era — combines the creative and emotional capacity of the arts with the strategic planning of activists to push for meaningful change in society online.”

“Digital arts activism has the power to help people channel suffering, trauma, or their outrage into persuasive messages. Many studies have indicated this can help increase community engagement and political participation — from human rights advocacy to campaigns against discrimination and economic inequality.”

3. The current scene of online activism and its problems: [When everyone is an activist online, is anyone?, Ella Glover，i-D Magazine, 2021](https://i-d.vice.com/en_uk/article/pkbvwm/online-activism)
“Social media has turned something hopeful into something toxic, and a groundswell of negativity has risen to the surface. Instead of seeing activism as a good thing, it has become mandatory; … blurring the line between genuine engagement and mandatory public caring.”

"Someone doesn’t have the luxury or ability to join online activism."

“The rise of ‘topical activism’ means we're jumping from movement to movement without creating real change.”

**Reference**
Glover, E. (2021). When everyone is an activist online, is anyone? i-D Magazine. Retrieved 2021, from https://i-d.vice.com/en_uk/article/pkbvwm/online-activism.

Suwito, K. (2021). Art and online activism amid the pandemic: Lessons from around the world. The Conversation. Retrieved 2021, from https://theconversation.com/art-and-online-activism-amid-the-pandemic-lessons-from-around-the-world-140161

Tate. (n.d.). Activist art – art term. Tate. Retrieved 2021, from https://www.tate.org.uk/art/art-terms/a/activist-art

34:T14e9,

**Research**
It is based on the first proposal and the first consultation, including confirming the topic, other related artworks, and the logical argument between the applied techniques and the topic.

**1. Confirming the Topic**
Generative Zhuang Characters

**2. Are there any artworks related to ethnic minorities, such as Hmong? What’s their situation?**
Hmong people are the minority ethnic people originating from China, Laos, Vietnam, and Thailand. Many of them relocated to America, mainly Minnesota after the Vietnamese War, which formed the community of Hmong Americans. [Hmong Museum](https://hmongmuseummn.org/) is the first and currently the only museum dedicated to the preservation and education of Hmong culture. They collaborated with many Hmong American artists and created documentaries, illustrations, and other art projects to promote the Hmong culture.

According to the works archived in the Hmong Museum, most of them are short films, documentaries, illustrations, fabric work, or others conveyed by traditional media forms. There is a niche that lacks the Hmong culture-related artworks demonstrated by the new media forms. Therefore, this work will utilize new media technology to study and explore the culture of the Zhuang ethnic minority and make Zhuang culture fit into the contemporary and new media art scene.

As both Zhuang and Hmong are Asian ethnic minorities, they have similar but also different situations. When talking about cultural identities, Karjalainen (2020) states, the studies on cultural differences and the concept of cultural identity remain limited in national cultures. For example, Zhuang and Hmong people in China will often be categorized into the large Chinese society instead of focusing on their independent cultural identities, which results in the neglect of the ethnic minorities culture. However, in the United States, Hmong people could have the opportunity to focus on their cultural identity, which is helpful to form and strengthen the Hmong cultural identity. It inspired me to work on the cultural identity of Zhuang people, and probably I can also work on the collision of being a Han Chinese and being a Zhuang that could extend to the problem between the minorities and the majority.
*Remark: This paragraph is my personal understanding, which lacks sources to support it. If I couldn't find any sources later, this argument is not valid.*

**3. Combining the two systems will be nonsense, so what is the meaning of these nonsense cultural symbols? What do I want to say by using the hybrid writing system to express? What is the meaning of this project to different groups of audiences?**
The purpose of creating nonsense generative characters is to create cultural symbols for Zhuang people and help them find a cultural representation. In cultural studies, semiotics is one of the major concepts. “The process, and the product, that gives signs their particular meaning is representation. Through representation, abstract and ideological ideas are given concrete form (Sardar & Loon, 2015)." The representation of Zhuang will contain their culture and history, which helps them build their cultural identity.

How to make sense of the nonsense-looking cultural symbols? First, the cultural symbols are generated from the real Zhuang language writing system, which will be related to the language of the people. As the language is a significant part of the culture, the nonsense-looking symbols would be a language-related cultural symbol for Zhuang. However, apart from the language-wise, the meaning of the nonsense-looking attribute will also depend on the way to generate them and how the result looks like. So, to make sense of the meaning of the symbols, it’s important to figure out the inputs, the model/ways, and the outputs.

For the general public and non-Zhuang people, apart from letting them be aware of Zhuang people, the message of this project is also about cultural identity and diversity. The project is to let people reflect on their cultural identity and cultural heritage. Under the context of anti-racism, it’s important to promote diversity in society and especially help minorities to understand more about their identities and cultural heritage.

**4. Other Research**
- [New CharActers, Wenran Zhao](https://karliezhao.github.io/NewCharActers/)
Software artwork about Chinese characters, cellular automata, and machine learning.

- [The Zhuang: A Longitudinal Study of Their History and Their Culture, Jeffrey Barlow](https://web.archive.org/web/20070206210848/http://mcel.pacificu.edu/as/resources/ZHUANG/index.html)
Zhuang Studies by American scholar Jeffery Barlow.

**Reference**
Hmong Museum (2020). https://hmongmuseummn.org/project-paj-ntaub/.

Karjalainen, H. (2020). Cultural identity and its impact on today’s multicultural organizations. International Journal of Cross Cultural Management, 20(2), 249–262. https://doi.org/10.1177/1470595820944207

Sardar, Z., & Loon, B. (2015). Introducing Cultural Studies. Icon Books Ltd. Retrieved from https://www.perlego.com/book/569940/introducing-cultural-studies-pdf

35:T1123,

**1. Further Research**
It includes the research on the Sawndip writing system and other character-based artworks

**How was the Sawndip writing system originally constructed?**
Sawndip:
The traditional Zhuang transcripts, Sawndip, is the Chinese character-derived writing system used for the aim of writing Tai languages of Southern China and Northern Vietnam, including Bouyei, Nung, Tay, and Zhuang. Compared to the similar traditional Vietnamese writing system, Sawndip has never been standardized by any authority. Thus, there are variations among different regions and even individuals. (Holm, 2013)

According to Bauer (2000), Sawndip characters can be categorized 9 classification principles:

1. Symbols that do not resemble Chinese characters, and are borrowed from non-Chinese writing systems such as the Latin alphabet and (possibly) Burmese

2. Non-standard Chinese-like characters created via semantic compounds (This rule also exists in standard Chinese)

3. Non-standard Chinese-like characters created via phono-semantic compounds
Example: bya "mountain" is often written as ⟨岜⟩, containing the 山 representing "mountain" with 巴 representing the pronunciation ba.

4. Standard Chinese characters borrowed solely for pronunciations, but do not share the same meaning in Chinese (in accordance with the phonetic loan principle)
Example: miz "to have" is often written as ⟨眉⟩, a character that is pronounced in Mandarin Chinese as méi, but which means "eyebrow".

5. Non-standard Chinese-like characters created specifically for Zhuang to indicate the meaning (in accordance with indicative ideograms)

6. Standard Chinese loanwords
Example: boi "cup" is written as ⟨盃⟩, a variant character of 杯 bēi, meaning "cup" in Chinese.

7. Written Cantonese characters

8. Standard Chinese characters borrowed solely for their meanings and do not have a matching pronunciation in Zhuang with Chinese, using the native pronunciation

9. New characters are made by juxtaposing a pair of Chinese characters that "spell out" the pronunciation of the Zhuang word as in the traditional Chinese fǎnqiè system, with one character representing the initial consonant and the other the rest of the syllable.

**Research on character-based artworks**
1. [Asemic: the art of writing](https://books.google.com.hk/books?id=f1nHDwAAQBAJ&lpg=PP1&pg=PP1#v=twopage&q&f=false)
“Asemic writing does not attempt to communicate any message other than its own nature as writing.” “A shadow, impression, and abstraction of conventional writing”
“Anything which looks like writing, but in which the person viewing can’t read any words”

2. [Art machines radical heart, by Daniel Howe](https://rednoise.org/daniel/radicaloftheverticalheart)
The 12 primary decompositions for Chinese characters

**Reference**
Bauer, R. (2000), "The Chinese-based writing system of the Zhuang language"
Holm, D. (2009). A typology of readings of Chinese characters in traditional Zhuang manuscripts
Holm, D. (2013). Mapping the old Zhuang character script: a vernacular writing system from Southern China. Boston, Mass.: Brill. https://ebookcentral.proquest.com/lib/cityuhk/detail.action?pq-origsite=primo&docID=1124346
Schwenger, P. (2019). Asemic: The art of writing. University of Minnesota Press.

36:T63c,

Related artists, artworks, and more

**1. [Shanye Huang, USA](https://www.shanyehuang.com/home)**
Shanye Huang is an Asian American artist who has a Zhuang heritage. His work is famous for connecting Zhuang folkloric heritage with Western surrealism and color field traditions as well as the disciplined skills of Chinese academic painting.

**2.[Type Space: Draw, Futa Kera](https://futakera.org/works/type-space-draw/)**
Generative asemic calligraphy
"The sentence by the act of typing remains, but the act itself is not left. In order to visualize disappearing behavior, this work typing on three-dimensional space using attraction and friction algorithms based on the position of the key on the keyboard, the position of the character on the screen, the timing to hit the key It shows the locus of. From the line drawn, the momentum like writing a brush is felt." -- Futa Kera

**3.[Sawndip literature](https://en.wikipedia.org/wiki/Sawndip_literature#cite_note-4)**
Sawndip literature is the Zhuang literature written in Sawndip characters. One fairy tale, *The Orphan Girl and the Rich Girl*, is very similar to the Western fairy tale, *Cinderella*. Based on the generative characters, the project may create generative literature.

**4.[Sawgoek](https://en.wikipedia.org/wiki/Sawgoek)**
Ancient Zhuang writing system. The appearance is similar to aesmic writing.

37:T99a,

**Unicode and more**
Research about Unicode, Chinese decomposition, and Ideographic Description Sequences/Characters

**1. What is Unicode?**
Unicode official website: https://home.unicode.org/
Code Chart: https://www.unicode.org/charts/
Unicode, formally the Unicode Standard, is an information technology standard for the consistent encoding, representation, and handling of text expressed in most of the world's writing systems. The standard, which is maintained by the Unicode Consortium, defines 144,697 characters covering 159 modern and historic scripts, as well as symbols, emoji, and non-visual control and formatting codes. -- Wikipedia
**Over one thousand Sawndip characters** were included in the [CJK Unified Ideographs Extension F](https://www.unicode.org/charts/PDF/U2CEB0.pdf) block that was added to Unicode 10.0 in 2017

**2. [Unicode in JavaScript](https://flaviocopes.com/javascript-unicode/#normalization)**
"A Unicode sequence can be added inside any string using the format \uXXXX:"
e.g. const s1 = '\u00E9' //é

**3. Ideographic Description Sequences**
Reference:
[Unicode Chapter 12 East Asian Scripts](https://www.unicode.org/versions/Unicode5.0.0/ch12.pdf)
[Unicode Chapter 5 Implementation](https://www.unicode.org/versions/Unicode14.0.0/ch05.pdf)

Although the Unicode Standard includes more than 75,000 CJK characters, there are still many extremely rare CJK ideographs that have been left unencoded. It's impossible to include all those unencoded characters. Therefore, the Ideographic Description block provides a mechanism for the standard interchange of text that must reference unencoded ideographs. Unencoded ideographs can be described using these characters and encoded ideographs.
Also, Ideographic Description Sequences have analytic uses for CJK characters, which can represent the composition of characters.

From [Ideographic Description Characters, The Unicode Standard, Version 14.0](https://www.unicode.org/charts/PDF/U2FF0.pdf)

It also refers to the 12 primary decompositions for Chinese characters according to Art machines radical heart by Daniel Howe

Other: CJK characters IDS data: https://github.com/cjkvi/cjkvi-ids

38:T48c,

**IDS Visualization**
Problems to render Ideographic Description Sequences

**1. How to render Ideographic Description Sequences?**
To generate non-existed characters, I need to figure out how to render IDS to display the generative characters, such as the examples shown in Unicode Chapter 12.

Some suggestions online mentioned rendering ideographic description characters in HTML and JavaScript by using Unicode, but I both failed. Then I realized I totally missed one part from Chapter 12, "Unencoded ideographs can be described using these characters and encoded ideographs; the reader can then create a mental picture of the ideographs from the description." This means an ideographic description character can only be displayed as a sequence consisting of its IDS block and sub-characters, instead of showing it as one character. Therefore I can't directly render ideographic description characters by its Unicode and need to find other ways to display the characters.

39:Ta25,

**SVG Path**
This includes the description of SVG and SVG <path> element

**1. SVG**
Scalable Vector Graphics (SVG) is an XML-based vector image format for 2D graphics, which can be scaled in different sizes without losing quality. SVG images can thus be scaled in size without loss of quality, and SVG files can be searched, indexed, scripted, and compressed. The XML text files can be created and edited with text editors or vector graphics editors, and are rendered by the most-used web browsers. --Wikipedia

The photo shows the difference between a pixel-based image and a vector image when both got scaled.

**2. SVG Path**
Reference:
https://developer.mozilla.org/en-US/docs/Web/SVG/Tutorial/Paths
https://vanseodesign.com/web-design/svg-paths-curve-commands/
The <path> element can be used to create lines, curves, and more.
- <M>: Move to
- <L>: Line to
- <H>: Draw a horizontal line
- <V>: Draw a vertical line
- <Z>: Close path
- <C x1 y1, x2 y2, x y>: Create a cubic Bézier curve, <x1 y1> and <x2 y2> are the control points, <x y> is the end point.
- <S x2 y2, x y>: Same as <C> when the first control point is assumed to be a reflection of the one used previously
- <Q x1 y1, x y>: Quadratic curve, takes two parameters: the control point and the end point of the curve.
- <T x y>:Shortcut for <Q>
- <A>: Arcs, sections of circles or ellipses.

Via using SVG path, it can realize rendering and visualizing Ideographic Description Sequences.
- Firstly, choose the characters （“立” and “生”）
- Respectively display them:

- Choose the decomposition (⿰ U+2FF0)
- Position the characters according to the decomposition
- Result:

3a:Tc81,

**Character Examples**
I made 12 examples of non-existing characters according to the 12 decompositions of Chinese characters by using SVG paths

**Non-existing Character Examples using SVG path**

Code Link: https://editor.p5js.org/steven_zhou2000/sketches/HyQppVTn5N
Each represents one Ideographic Description Character Unicode block. There are 12 blocks in total. The position of each component is arranged specifically. The second image indicates different components of the characters

**Source**
It used two datasets, dictionary.txt and graphics.txt, both from [skishore/makemeahanzi](https://github.com/skishore/makemeahanzi):
- Dictionary: https://raw.githubusercontent.com/skishore/makemeahanzi/master/dictionary.txt
The dictionary.txt includes the characters' definition, pinyin, decomposition, radical, and more.
- Graphics: https://raw.githubusercontent.com/skishore/makemeahanzi/master/graphics.txt
The graphics.txt includes the SVG path data for characters, ordered by proper stroke order.
"Each stroke is laid out on a 1024x1024 size coordinate system where: The upper-left corner is at position (0, 900). The lower-right corner is at position (1024, -124)."

The code to render SVG path data refers to [dhowe/rotvh](https://github.com/dhowe/rotvh/blob/14006db33e8165624ecbc1a79b25fa1edeef37c7/sketch.js#L273)


 // draw each character

  let ctx = this._renderer.drawingContext;

  for (let k = 0; k < word.characters.length; k++) {

    let chr = word.characters[k];



    // strange constants

    let xoff = k ? 20 * scayl + width : 140 * scayl;

    let yoff = -1220 * scayl;



    // draw each path of the character

    push();

    fill(txtcol);

    for (let j = 0; j < chr.paths.length; j++) {

      for (let i = 0; i < chr.paths[j].length; i++) {

        ctx.setTransform(1, 0, 0, 1, 0, 0);

        ctx.scale(.5, -.5); // mirror-vertically

        ctx.translate(xoff, yoff);

        if (complete || chr.parts[j] >= i) {

          ctx.scale(scayl, scayl);

          ctx.lineWidth = 5;

          ctx.fill(chr.paths[j][i]);

          ctx.stroke(chr.paths[j][i]);

        }

      }

    }

    pop();

  }

However, in the dataset, some characters are radicals and components, the sizes of which are different and generally smaller than a whole character. For example, the first character at the top-left corner is according to ⿰ (U+2FF0). The left part of the character 立 is radical. If the left part changes to a whole character, it will overlap on the right part, so this position arrangement can't be applied to all the character data. The next task is to respectively find a way of position arrangement that can be used for radicals, components, and characters.

3b:T1410,

**Templates**
The solution is to first categorize the character data, and then make a "template" of position for each category

**1. Categorize character data**
(1). Components
This category includes radicals and components which are parts of a whole character.
For ⿰ (U+2FF0), it could be at the left or right.
For ⿱ (U+2FF1), it could be at the top or bottom.
For U+2FF4 ~ U+2FFA, it's usually the part that surrounds another component.

(2). Characters
The results of displaying components and characters are different. Generally, the size of components is smaller than characters.

Examples:

Therefore, I need different position arrangements for components and characters.

**2. Combination**
3 combinations for generative characters
- Component + Component
- Character + Character
- Component + Character

**3. Summarize and restate the generative rules**
According to the previous research, Sawndip characters were created based on the Zhuang language, and mainly using Chinese characters as the "elements"/"components". The general concept to generate Sawndip characters for this project is to select related Chinese characters as "elements" based on the rules and then combine them according to the 12 basic decompositions.

1. Non-standard Chinese-like characters created via **semantic** compounds.
e.g. To create a character that means "not good", it needs to find a character that means "not" and another means "good".

2. Non-standard Chinese-like characters created via **phono-semantic** compounds.
e.g. To create a character to represent a Zhuang word "bya" that means "mountain", it needs to find a character whose pronunciation is close to "bya" and another means "mountain".

3. Standard Chinese characters borrowed **solely for pronunciations** and do not have a matching meaning in Zhuang with Chinese, using the original meaning.
e.g. Find a character whose pronunciation is close to the Zhuang pronunciation.

4. Standard Chinese characters borrowed **solely for their meanings** and do not have a matching pronunciation in Zhuang with Chinese, using the native pronunciation.
e.g. Find a character whose meaning is close to the Zhuang meaning.

5. Non-standard Chinese-like characters created specifically for Zhuang to indicate the meaning (in accordance with **indicative ideograms**).
e.g. Find a component that can indicate the meaning of the Zhuang word.

6. New characters are made by juxtaposing a pair of Chinese characters that **"spell out"** the pronunciation of the Zhuang word.
e.g. One character represents the initial consonant and the other represents the rest of the syllable.

P.S. I combined the initial 6th, 7th, 8th rules to the 4th rule here since the results would be similar. Also, at this point, I get rid of the initial first rule since it involves other alphabets such as Burmese.

**4. Selection of IDC Unicode blocks**
According to the rules mentioned previously, to create a generative character, actually, only two Chinese characters will be involved, and only ⿰ (U+2FF0) and ⿱ (U+2FF1) would be used mostly. ⿲ (U+2FF2) and ⿳ (U+2FF3) are similar and repeated to ⿰ (U+2FF0) and ⿱ (U+2FF1). Others, from ⿴ (U+2FF4) to ⿻ (U+2FFB), are not available to most of the character data. Only a specific part of the characters could be applied to ⿴ (U+2FF4) ~ ⿻ (U+2FFB).

**5. Templates**
Here are the templates for the position arrangements of different characters and components combinations.
Some examples:

Check the [link](https://github.com/StevenZhou01/Sawndip/tree/main/Decomposition_Templates) for all
The templates are made for the position arrangement of different decompositions and characters, which will be used in the later work. The characters in these templates are just examples, which can be replaced by others. Since the size of characters varies, I tried different ones to make the templates fit most of the characters.

3c:T660,

**2. Data sets**
Here is the [code](https://github.com/StevenZhou01/Sawndip/tree/main/Data_sorting_code) used for data sorting.

According to the generating process, two data sets are needed, Chinese and Zhuang. Each word is needed its meaning and pronunciation. The data sets are formed in JSON files. Additionally, the data set of SVG-formed Chinese characters is also needed.

**Original data sets:**
- Chinese dictionary: https://raw.githubusercontent.com/skishore/makemeahanzi/master/dictionary.txt
- Chinese SVG data: https://raw.githubusercontent.com/skishore/makemeahanzi/master/graphics.txt
- Zhuang language dictionary: https://kaikki.org/dictionary/Zhuang/words/kaikki.org-dictionary-Zhuang-words.json

All of them need to be tidied up. Only some elements are needed.
For the Chinese dictionary, only "character", "definition" (meaning), "pinyin", "decomposition", and "radical" are needed. For the Chinese SVG data, only "character", and "strokes" are needed. For the Zhuang language dictionary, only "pos" (parts of speech), "sounds" (pronunciation), "word", and "senses" (meaning) are needed.

**Tidied data sets:**
For Zhuang, each object contains "pos" (parts of speech), "word" (Latin Zhuang word), ""sounds" (pronunciation), "meaning"(English translation). For Chinese, the data contain contain "character", "definition", "pinyin", "decomposition", "strokes" (SVG path data), and more.
Here is the [folder](https://github.com/StevenZhou01/Sawndip/tree/main/Sorted_data) of sorted data

3d:T43f,

**3. Romanization System of Zhuang and Chinese.**
Pinyin and Latin Zhuang

According to some rules, characters are selected based on matching the pronunciation of Zhuang words, which is not necessarily to be the same but should be similar phonetically. The Chinese here indicates Standard Mandarin Chinese. Since the Zhuang language includes many variations, here indicate the Standard Zhuang (autonym: Vahcuengh; Sawndip: 話壯)). For pronunciation, Chinese has pinyin which is the standardized romanized Chinese and Standard Zhuang is initially written in the Latin alphabet. Also, both pinyin and Standard Zhuang are different from English or other Roman languages in terms of the one-to-one correspondence of letters and their sounds. For example, a in pinyin only has one pronunciation [a], but a in English can be pronounced in different ways.

Image Courtesy of [Omniglot](https://omniglot.com/writing/zhuang.htm)
3e:T43c,

**1. Interface Prototype**
Link: https://stevenzhou01.github.io/Interface_Prototype/

Video Demo:

The video shows the final work will be presented and loaded in a browser, which takes advantage of the Internet as an open platform to display the project to the public. The video shows an example of a generative Sawndip character. On the upper-left side, it shows the information about this generative character. The character is generated based on the word "bya" in the Zhuang language which means "mountain". It also includes other information including the English translation, part-of-speech, pronunciation by IPA, and decomposition. On the bottom-right side, it shows the information on Chinese characters used to generate this Sawndip character. Viewers can swipe the mouse on different character components, then the website will show the information of the characters.

3f:T4ee,

**3. Problems**
Some new solutions and adjustments to the initial idea are needed.

(1) How to translate the inputted English word into Zhuang word?
If I use the JSON file I sorted to do this work, it will have some ambiguities. For example, the word "ci" means "to sew with a sewing machine", so if I search for "machine" (noun) in Zhuang, this word "ci" may also come out because it also contains the word "machine". Also, another situation is one English word could have multiple Zhuang words translations. Therefore, one possible easy solution would be using an online translator, and when it translates, it makes a list menu to show all the possible Zhuang words, so people can just choose one as they like. This issue can also appear when matching the meaning between Chinese and Zhuang.

(2) The difference between the Chinese language and the Zhuang language in terms of syllables. In the Chinese language data set, one JSON object only contains one character which always has one syllable. However, in the Zhuang language data set, one JSON object could contain the word in one syllable or multiple syllables. This can create some trouble when matching with the pronunciations.

40:T79f,

4. How to search pronunciation-matching characters?

To search Chinese characters based on the native pronunciation of Zhuang words, I mainly use "regular expression", but it's a bit more complicated than finding the pronunciation-matching characters.
- Let's also take the word "Bouxcuengh" as an example.
- For the pronunciation, I use the International Phonetic Alphabets (IPA) of the word, which is the "sound" entry in the JSON file. - First, input the sound of the word as a string value. For "Bouxcuengh", it's "/pou˦˨ ɕuːŋ˧/".
- Second, since Zhuang words can be both monosyllabic and multisyllabic, I check if the sound string contains "spaces". If yes, then it's a multisyllabic word. "Bouxcuengh" is a multisyllabic word.
- Third, according to [Soundex](https://www.archives.gov/research/census/soundex), a phonetic algorithm, consonants mainly affect the pronunciation similarity. Therefore, I match the consonants of syllables for pronunciation or the first IPA letter if the syllable doesn't have a consonant.
- Here is the table to show how the Zhuang alphabets match with the Chinese pinyin.

Some letters may be correspondent to multiple pinyin letters, so the algorithm will randomly choose one to match.
- For "Bouxcuengh", the consonants to match are "b" and "c" - Since there may be many characters to match with "b" and "c", it will arbitrarily show 20 characters for each. Then I can choose a suitable one from either the "b" list or the "c" list depending on the rule.

Reference:
National Archives and Records Administration. (2007). *Soundex system.* National Archives and Records Administration. Retrieved April 5, 2022, from https://www.archives.gov/research/census/soundex

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30:{"id":"4f4f5e20fae40f6e","slug":"cultural-identity-and-new-media-project","title":"Generative Sawndip","thumbnail":"f5752028c844f6779edfc0d64894e3171e850689e4bcb563fb43bc301319f0f5","access_level":"public","create_time":"$D2021-10-31T14:40:09.313Z","update_time":"$D2022-09-12T14:17:39.785Z","view_time":null,"first_public_time":"$D2021-10-31T15:59:02.913Z","has_unpublished_edits":null,"fork":false,"stars":2,"starred":false,"owner":{"type":"team","id":"97db974a0b88bc30","login":"stevenzhou01","name":"","avatar_url":"https://avatars-next.observableusercontent.com/1e2dd4f7120a4e62cca461b2d703afd96e08ebd45e344b3a342ca62b0cfd87e2","tier":"starter_2024"},"version":1105,"publish_version":1105,"role":null,"authored":false,"authors":[{"type":"individual","id":"f37ed0ff88be839d","login":"stevenzhou01","name":"","avatar_url":"https://avatars-next.observableusercontent.com/1e2dd4f7120a4e62cca461b2d703afd96e08ebd45e344b3a342ca62b0cfd87e2","tier":null}],"members":[{"type":"individual","id":"f37ed0ff88be839d","login":"stevenzhou01","name":"","avatar_url":"https://avatars-next.observableusercontent.com/1e2dd4f7120a4e62cca461b2d703afd96e08ebd45e344b3a342ca62b0cfd87e2","tier":null,"role":"editor"}],"comments":[],"custom_thumbnail":true,"trashed":false,"lapsed":null,"subscribed":null,"forks":0,"collection":null,"type":"notebook","body":{"titling":"auto","title":"Generative Sawndip","cells":[{"id":0,"value":"# Generative Sawndip\n## Steven Zixuan Zhou, Graduation Project 2021/22, Advised by Daniel Howe","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":279,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":9,"value":"md`### Keywords: \nDigital Language Art/ Software Art/ Generative Art/
\nCultural Identity/ Ethnic Minority\n`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":147,"value":"md`----------`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":952,"value":"### Artist Statement: ","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":967,"value":"Sawndip is a logographic Chinese-derived writing system traditionally used by Tai-speaking people in Southern China and Northern Vietnam including ethnic Zhuang groups. Due to the lack of standardization, there are many variations of Sawndip characters. Generative Sawndip is a generative language art project using computer algorithms to create new Sawndip characters for the Zhuang minority language. With inspiration from critical software art and generative art, the project explored the possibilities between computer coding and critical cultural issues to find innovative ways of connecting underrepresented ethnic minority cultures with modern computer techniques. By using language data and following the historical rules of making Sawndip characters, the project generates the non-existing characters showing the nature of the Sawndip writing system and the Zhuang language culture. Meanwhile, the project is also about exploring my cultural heritage and identity by making my version of Sawndip characters. ","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":956,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":186,"value":"## September 2021","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":182,"value":"### 09/16 ~ 09/27 Two Rough Ideas\n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":177,"value":"$32","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":173,"value":"$33","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":269,"value":"### 09/28 First Consultation with the Advisor ","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":283,"value":"About the two ideas and related problems, including the further research on the topics, the meaning of the project, the logical argument between the applied techniques and the topics","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":230,"value":"Check the file [**First proposal with two ideas**](https://drive.google.com/file/d/15Kd48mDxz1IW_mGdT32eBB4C7bm9D5-j/view?usp=sharing) for more","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":155,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":43,"value":"md`## October 2021`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":259,"value":"### 10/08 ~ 11/02 Further Research","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":245,"value":"$34","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":297,"value":"Check [**my note**](https://drive.google.com/file/d/1k7bzP-TfZUlYJkh0U63uyK7Y2RY0J59r/view?usp=sharing) for more","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":158,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":99,"value":"md`## November 2021`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":311,"value":"### 11/03 Second Consultation\n\n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":320,"value":"

Consult about the research and later tasks

\n- Find out the logical argument between the topic and the applied technique -- Why should I use algorithms to generate characters instead of using analog ways?
\n- Research on some other character-based artworks. How and why did they do it?
\n- [Art machines radical heart by Daniel Howe](https://rednoise.org/daniel/radicaloftheverticalheart)
\n- Asemic: the art of writing
\n- RRPL, Lingdong Huang
\n \n

\n \n

**2. Project Idea**

\n- Sawndip Generator
\n- Since Sawndip has never been standardized by any authority, there are variations among different regions, genres, and even different individuals. I can create my own variation of Sawndip.
\n- Convert the rules summarized by Bauer into the algorithms. Since there are 9 rules, there could be 9 algorithms.
\n- Input: English words
\n- Randomly choose one rule out of those 9 rules, or the possibility of each rule can follow the original distribution of the 9 rules.
\n- Source: Chinese characters, and other alphabets(Latin and Burmese)
\n- Follow the decomposition of Ideographic Description Characters (Unicode block)
\n- Output: new generative Sawndip. It’s inspired by asemic writing that the new characters won’t communicate any readable meaning but the whole process of generation represents how the Sawndip constructs
\n

\n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":356,"value":"### 11/19 Third Consultation","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":362,"value":"

Later Research

\n- Find the database, like [Zhuang machine-readable database](https://kaikki.org/dictionary/Zhuang/index.html)
\n- [Hanzi decomposition/cc editor](https://github.com/skishore/makemeahanzi)
\n- [Generative asemic calligraphy](https://futakera.org/works/type-space-draw/)
\n- [David Chanin](https://github.com/chanind)
\n- [RRPL, Lingdong Huang](https://github.com/LingDong-/rrpl)
\n

\n\n\n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":368,"value":"Check [**my note**](https://drive.google.com/file/d/11twzjAbWkqGKWn-NO2UdsiX9q4grwUrK/view?usp=sharing) for more","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":161,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":120,"value":"md`## December 2021`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":376,"value":"### 12/04 ~ 12/17 Further Research","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":380,"value":"$36","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":394,"value":"### 12/18 Fourth Consultation\nThis consultation is mostly about the possible works that I can do by using the character generator","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":129,"value":"md`### 12/20 Proposal\n[Graduation Project Proposal](https://drive.google.com/file/d/17pgSzgPuI_qy0gUD3fjbShscqRfEis0W/view?usp=sharing)`","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":402,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":429,"value":"## January 2022","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":234,"value":"

1. Raw Language Data

\n
\n- [Zhuang machine-readable dictionary](https://kaikki.org/dictionary/Zhuang/index.html)
\n- [Chinese machine-readable dictionary](https://kaikki.org/dictionary/Chinese/index.html)
\nThese two sets of data about Zhuang and Chinese are organized into different categories and sorted in JSON file.
\n
\n- [Chinese characters decomposition](https://commons.wikimedia.org/wiki/Commons:Chinese_characters_decomposition)
\n\nThis data set provides purely graphical decomposition of Chinese characters
\n\n

","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":452,"value":"2.Contact artist Shanye Huang about his work related to Zhuang culture","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":460,"value":"3.Review the previous research","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":465,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":469,"value":"## February 2022","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":478,"value":"### 02/05 ~ 02/12 Update Documents ","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":487,"value":"### 02/13 ~ 02/21 Research about Algorithms","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":495,"value":"$37","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":529,"value":"### 02/20 ~ 02/26 Try to Render the Ideographic Description Sequences","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":533,"value":"$38","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":560,"value":"### 02/27 ~ 02/28 Fifth Consultation\nThe consultation is about how to render non-existing characters by using SVG paths, which refers to the same method in *Radical of the Vertical Heart 忄* by Daniel Howe","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":547,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":553,"value":"## March 2022","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":557,"value":"### 03/01 ~ 03/06 Render Non-existing Characters by SVG Paths","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":620,"value":"$39","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":657,"value":"$3a","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":672,"value":"### 03/07 ~ 03/16 Position Arrangement & Rules","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":701,"value":"$3b","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":812,"value":"### 03/16 ~ 03/27 Generation, JSON data, and Algorithms","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":819,"value":"

**1. Generating Process**
\nTo design the algorithm and organize the JSON data, I need to first define the generative process.\n

\n
\n\n

","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":846,"value":"$3c","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":931,"value":"$3d","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":880,"value":"### 03/28 ~ 03/30 Prototype, Draft, and Problems","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":887,"value":"After sorting the data sets, my work moved on to the part of making the prototype of the final result and designing the code/the algorithm of the generation.","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":894,"value":"$3e","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":905,"value":"**2. Mock-up Code**
\nLink: https://editor.p5js.org/steven_zhou2000/sketches/h6TSnF3Fy
\nThis mock-up code shows the generating process in the programming language. However, some new problems came out. \n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":920,"value":"$3f","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":976,"value":"## 04/01 ~ 04/07 Solutions","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":981,"value":"

1. Generating Process\n

\n\n

2. What to generate and what to show on the final result?

\n(1) Choose some words (8 to 10) that are related to the topics as samples, such as “Zhuang people”, and “Sawndip”, to generate characters for these words.
\n(2) Find an article/story of Sawndip literature to make a paragraph written in generative characters.
\n(3) Show the demo of the character generator
\nIn this case, I can control the inputs to avoid some unavailable words. The final work will be the generated characters and paragraph which are interactive for people to view the information. \n

","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":1003,"value":"$40","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":1090,"value":"## 04/08 ~ 04/15 Final Work","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":1094,"value":"Please see the [github page](https://github.com/StevenZhou01/Generative_Sawndip_File) and the [webpage](https://stevenzhou01.github.io/GenerativeSawndip/)","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":541,"value":"---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":425,"value":"**Other Research: **
\nHow can I determine Levenshtein distance for Mandarin Chinese characters?\nhttps://stackoverflow.com/questions/12380619/how-can-i-determine-levenshtein-distance-for-mandarin-chinese-characters\n","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"}],"files":"$W41","stdlib":"1"}} 31:"$30:body"