Glyph 

(2011) 

is a projection sculpture by Depart with references to ritual monuments such as obelisks or stelas. It deals with cyclic change and constantly regenerates itself. Made with Processing and Reaktor.

Glyph is an alphabet based on fundamental geometric shapes (rectangle, circle and triangle) acts as an communication device as well as a pure aesthetic element. All texts displayed are permanently evolving and restructured based on linguistic rules.

 

 

I

glyph cleavage

 

like man-high menhirs
one line unbroken
heading for a fold

 

in the ministry of mist
a high official locks the primary gate
seals it thoroughly with wax
as he does every evening
thinking about molten rocks
and flocks therof

 

fold what you have at hand
if nothing
for a fold creates a separation that is an union that is a divide that is a joint

 

for nothing is ever so insisting as an unbridged gap

 

At
the atoms’ of words nightly fission
demounted scriptures
let letters
be
and build.

 

A Kohen’s head leaking
kowtow prostration high I rise downlift
in steadfast decline
loose faith and lost face
An arbitrary figure
crouched in covered crevices
sleeps,
calmed by the superiority of imaginary numbers

 

unscramble the
low tower password
tear open a portable peakhole
flood it with a froth of (moth) light
Down the lightwell, white
like loitering in literal tunnelfunnels

 

for it may be found not on the surface but within
not on the peak but above
not on the ground but underneath

 

subterranean alps
and towers piercing the earth
for every pit you dig, erect a mountain

 

humbly construct folds, to create in-between spaces
and aptly distortions -
then hide whole chunks of space within its pleats
and time , what else
a room for concealment, unlonged for.

 

a realm subject to
negotiation

 

Source: Depart

 

 

Glyph, processing, mystic, Installation

Reading

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

 

SEE ALSO

Advanced Beauty (2007) was curated by Universal Everything and musician Simon Pyke. Advanced Beauty is an international collaboration and ongoing exploration of digital artworks born and influenced by sound. (Universal Everything)

Robert Hodgin is a commercial designer and artist from Boston, Massachusetts. He was the co-founder and Creative Director at the Barbarian Group. Robert Hodgin's creative outlet is flight404.com, an interactive experimental Flash site that has also garnered him international recognition. His work has been featured in virtually every major design magazine. Robert earned a bachelor's of fine arts degree in sculpture at Rhode Island School of Design. (Austin Museum of Digital Art)

CONTAKT (2008) was a series of interactive performance events to celebrate the 10th anniversary of Richie Hawtin's label Minus. Ali M. Demirel, Hawtin's visualist, produced the show's video and also interacted with the audience. (Kineme Interactive Media)

Perceptio (2011) by PMP is an audiovisual concert that investigates the state of our perception towards pollution and climate change in a local context. Perceptio combines cinematics and generative art/ animation with sound and music that is a whole, inseparable from one another. Collecting sound and visual samples from various parts of Singapore, these field recordings are then harmoniously combined with computer generated visuals and sounds to create an immersive experience. (PMP)

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)