The Context of Message, Framing of Context and Visualization
I look for signs that aren’t signs —
in a conventional sense —
another deeper story,
but sigils that signal a message
that stand for the nature of a place.
Traveling in the Himalaya, the trekker will see piles of stones that reference prayers and mantra, carved on the skin of the stones — these stones are messages, way-findings — way-placements, but they don’t point to a village on the path, but a higher state of being.
A sign and a symbol — something that throws beyond.
That is one
way to be thinking about
and the sigils
of their story.
To take them away
to steal mani stones —
sends a thunderbolt after the thief.
There are signs that are signals
of another tiers of mention, meaning and mind.
Sometimes that are other variations of urgency.
A sign that speaks to its own physical design characteristics.
Like: “ you can read this, but you can’t touch it.”
While I reference the care of handling signs — only a sensualist would be thinking about “touching” a sign out in the middle of nowhere.
I like that notion of offering a sign —
that speaks to the character of being more focused.
Be aware, there is danger in the air.
That has a nice rhythm to it.
And on that theme of signs that
signal more — a danger-based signing treatment that is, in fact, in a state of dissolution is symbolic unto its own positioning.
Things are dangerous ahead, and falling apart.
Yes, makes sense.
Keep away — things are dissolving here.
This is a place that things are falling apart, disappearing into the jungle again.
This, on the other hand, as
a signing treatment uses a
disciplined typographic rendering that is modernist, urgent and
fast. There is no abstraction, no distraction — but a hinting of moss and a misting of fungi. So you know you’re out in a real place where danger flows through the veins of the wet ecosystem.
As a contrast to design and layering, signing and statement —
this hand-crafted statement —
you could, like the former, be more aware, and
“ T R Y
S L O W. ”
As a surfer, I watch the waves off shore.
Signs are natural, to curl and drag, force and parabola —
you can see the rhythmic reveal.
Signs on the beach are less than meaningful.
But they speak a language.
Some warners offer a tally in discussion.
Pay attention, as these haven’t.
A compelling layering of messaging in intention.
In most places, journeys to another vista, there is a presumption of a look out.
Which is just that, a place
If you’re expecting
to see more,
in the duality of study and spectacle —
you can be a look out —
a sentinel in your view
be the watch in
Here, wildly distressed and battered by decades of sun and ruinous decay,
the sign — looking out — is a matrix of its own visioning — it’s seen the passage of time in weather, storms, wet and sun — and the deep forest, moss and fungi flourish — adding their own detailing to the signing and its message.
The signing that has no signing might be just
that, a sign that is a message —
but it has no obvious alphabetic message other than the statement of
its blank conditioning.
Blank, it says everything.
It is up to you to read it.
There is nothing.
a way to
read the sign
Or a call to evocation
— there is no
message other than:
H O N K .
Kind of a classic American statement.
And that too, an allegory.
You know your way.
Shout it out.
Or you are silent.
TIM | GIRVINNEW YORK CITY
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