I think English, French, German all start composite numbers around 13?
(Maybe a Christian influence?)
I'm not sure you can deduce base 2 from "half-eyed" etc. And I imagine 5
was given a different design because it makes a full hand, so to speak.
I imagine types of music that evolved would require some analysis of how it
can be made, primitively? I guess everyone recognises that notes an octave
apart sound "similar" (unfortunately we can't check if that's also true for
colours - yet). Hm.


On 3 February 2015 at 12:36, John Mikes <[email protected]> wrote:

> FRIENDS - MAINLY BRUNO
>
> (it all came out from the French numbers).
> any thoughts why some numerals have specific names, others use composites?
> Example: (Fr:) onze, ...seize yet dixset etc. German elf, zwoelf yet
> dreizehen...
> same in English, Hungarian has composites above 10, Russian Italian etc.
> similarly. I don't know about Semitic (Arabic?), or Oriental  numbers.
>
> My 'pegs' idea shows the origin of the Roman numerals as 4 "IIII" being
> the maximum
> tolerable, why 5, 10 were invented with a different design, even 9 shows
> contempt.
>
> I believe  - 2 - is the original counting base (eyes, hands, etc.) based
> on the more primitive Hungarian identification of a 1-eyed person as
> half-eyed, and 1 foot lost makes you
> 'half footed' etc.
> Any idea about the 'dozen'? 12 half tones make an octave, yet more
> primitive folks had
> pentatonic music (5).
> All that goes before the articulate speach evolution - I think.
> John M
>
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