Leetspeak or “elite speak” was another variation of coding and gaming lingo. Alternatively, leetspeak could have been developed to counter text filters from Chat system operators that censored forbidden topics, for example, hacking. These are some examples: 

H4x0r = hacker

N00b = noob (newbie, often an insult) 

Pwned = pawned (defeat, especially in video gaming)

Using abbreviations is still a standard now, and mixed with the lowercase, it has also become aestheticised. While it had once served a purpose as a form of code that outsiders could not understand, complicating “efforts [in the hacker community] to monitor and counteract malicious activities online,” nowadays abbreviations are a widely-known asset for prompt communication.

In a research paper exploring Internet Slang’s impact on the English language, Farzand has sought to categorise different types of Internet Slang, notably “Morphological Adaptations.” Internet Slang is characterized by new words drawn from “acronyms, initialisms, clipping, and loanwords.” Morphological features include truncation, blending, and compounding of words to achieve brevity, which is “required in online conversations while still maintaining intelligibility.” The acronyms discussed above are examples of morphological adaptations.

It is possible to further compartmentalise Internet Slang with my proposed list: Abbreviations, phonetic spellings, stylistic alterations, exaggerations and categorization terms. Abbreviations simplify a three-word phrase of adoration to ily. They also eliminate vowels from words, for example, yh (yeah), tmr (tomorrow) and gd (good). 

Phonetic spellings reflect a dissonance between the way a word is written and its predicted pronunciation. Like the saying goes, “shoulda, woulda, coulda.” It is much easier to say you’re “gonna” walk to the shop tomorrow, or to wait for someone when they say “lemme” think about it. “Nah” is much cooler than a decisive ‘no.’

Stylistic altercations are a personal endeavour, representing the essence of the process of typing, which provides the act of texting with a unique personality. The favourable all-lowercase style of typing, as seen in various song and album titles, is one example. A popular explosion of emotion can be portrayed through a keyboard smash–a physical, unhinged showcase of feeling that I enjoy using: “skdjfandsk”. Modifying the visual structure of words dismantles the very “words” used. Alternate lowercase-uppercase sentences represent the voice fluctuation one uses when speaking sarcastically—“yOu’Re sO RiGhT”.

Exaggerations in text are primarily hyperboles with unreasonably end-of-world reactions, but the allure of the drama is what truly matters. I find “crying, screaming, throwing up” very similar to a keyboard smash, but the succinct and significantly compact three-word phrase also conveys an overwhelming emotion. Altered to heighten effect, one doesn’t have to be dead to say, “I’m dead” while experiencing surprise or asphyxiating laughter. 

Lastly, categorisation terms represent a form of lexical grouping that precisely captures ideas, feelings, subcultures or styles. Walking into a shop and discovering a flowy, sage dress could embody “fairy-core” -- “core” being the vital nucleus that gives foundation to something that may seem fairy-like. Similarly, “fairy-coded” might be used to describe the dress. The symbolism of ‘code’ in computing reinforces a key or secret language which users can go by to show that this object reminds them of a fairy. The sage dress could also be described as “lowkey fairy-coded.“ The term “lowkey” means it is subtler. It implies the revealing of a deeper fairy theme underlying the surface of a sage dress on display. 

Some aspects of Text-Talk, such as abbreviations, may seem devoid of emotion—bringing fear that we may be heading toward a dead language full of contextual beats. However, within Text-Talk there are also numerous devices that enhance meaning and introduce additional ideas. These end up oversaturating the original phrase with new layers of meaning. For instance, when I use the term “fairy-coded,” I no longer envision just the sage dress; instead, I imagine a meadow filled with flowers, mushrooms, bargains, and wings – almost like a mood board. In light of this, Text-Talk embodies postmodernism. Kihney and Gereikhanova note that postmodernist texts use intertextuality “as one of the leading principles of creation.” It is a “reminiscence mechanism” that looks like a “collage” and transforms “texting” into a “game with the reader.”

Grammar is fading, and is far from the preferred form of communication online. However, aestheticising texting through stylistic alterations and categorisation terms results in an emotional appreciation. Grammar is still present beyond academia and work life. On the internet, grammar is admired rather than utilised for its functionality. There is a romanticisation of letters and robust vocabulary. Many cherish Franz Kafka’s diary entries for their eloquence and exchange posts containing poetry that has moved them. Despite this, Text-Talk still dominates communication. It’s like attempting to send a handwritten letter to a grandma overseas only to realise she is already in on the memes and is the one sending you reels. At this point, the romanticised letter that would have been sent is more of an aesthetic gesture than one that works functionally for communication.

Grammar is appreciated, but it is becoming outdated in the era of social media. It has become a tool that is used professionally, but has been wiped off the internet, where words, form and their structure have been transformed through socio-cultural changes and trends. The multitude of word clippings and abbreviations are creative, and Text-Talk will grow with trends, a preference for speed, and the evolving internet culture. 

Grammar as a functional communication device is no longer necessary in our increasingly high-tech society.