Glide forms are built from a single element, the half-circle, into morphing mazes of great complexity. In the story world of The Maze Game, the glyphs are the field of meaning on which The Maze Game is played.
Single strokes: The formation of Glide glyphs begins with one shape, the semicircle.
The semicircle inverts, becoming the second stroke.
The third stroke is formed by the combination of the two semicircles into the wave.
Two-stroke combinations: These three elements form three basic pairs. The circle:
Three-stroke combinations: The three basic lines combine to form 27 3-stroke glyphs, the basic units of meaning in Glide.
Put in motion, the glyphs transform into each other.
Six-stroke (two-glyph) combinations: The 27 tri-glyphs combine to make 729 hexa-glyphs. Example:
Reading through the hexaglyph in either direction reveals two interior glyphs which contribute to the meaning.
The 729 hexa-glyphs form the basis of the Glide oracle.
The mathematical signs for zero (0) and for infinity (∞) are composed of the mirrored half-circle and the mirrored wave-sign, respectively.
Links are created by contiguity. Deep links are formed when glyphs overlap their lines, interpenetrating their meanings.
The meaning between glyphs morphs where their edges touch, producing evershifting margins and centres of meaning. –Carolyn Guertin1
Glide takes hypertextual structure down to the level of the signs of the language. Prominence is given to the links themselves, as well as to the branching paths. The links are points of branching, but also form new meaning in and of themselves in the form of the link. Links can be created by proximity—one glyph touching the next at one or more points. Links can also be formed by the overlapping of matching parts of two glyphs, forming a “deep” link and a tighter structure. These overlaps can also create homonymic or punning ambiguities, as the composite/linked glyphs could be made from more than one pair of glyphs in combination. Further, an individual link can have a variable number of strokes participating. The yellow circle encloses a single stroke link. The red and green circles enclose more complex joining of strokes.
Mazes: An arrangement of three or more tri-glyphs is called a maze. A maze offers multiple entrances, multiple paths along which to trace meaning. Visual language becomes hypertextual, offering choices at the linkages of meaning. Negative spaces reveal new shapes. Interior spaces—visual silences—offer additional meanings—or a place to rest in the maze of meaning-making. Repetitions of circles, of waves, create interior rhythms. The maze as a whole, a gestalt, has its own physiognomy. Meaning shifts between an apprehension of the whole and focus on the individual glyphs, their links, and their shifting paths of meaning. The movement of the eye, the mind’s eye, and the mind construct a path of glyphs through the maze of meaning.
A hypertext proactively presents a sequence of choices, combining to form a branching and linked structure. Metaphorically, the difference is that between the classical, unicursal labyrinth and the maze of branching paths, though in practice, the terms labyrinth and maze are often interchanged. Glide structures are called mazes because the glyphs can be read as variety of sequences. The maze itself can be entered at any point, with no preference being given to left/right or up/down sequencing.
- Guertin, C. (2005). Quantum Feminist Mnemotechnics: The Archival Text, Digital Narrative and the Limits of Memory. McLuhan Program in Culture and Technology. Toronto, University of Toronto. Ph.D. [↩]