The Chimeric Glyphic System (CGS) is a developing visual grammar for experimental literature, symbolic art and narrative systems. Rather than functioning as a conventional alphabet, CGS uses glyphs, relations, spatial structures and transformations to create meaning visually. It explores a form of diagrammatic literature in which an image can be read, a sentence can be seen, and a symbolic composition can evolve into a narrative world.
El Sistema Glífico Quimérico (CGS, por sus siglas en inglés) es una gramática visual en desarrollo destinada a la literatura experimental, el arte simbólico y los sistemas narrativos. En lugar de funcionar como un alfabeto convencional, el CGS emplea glifos, relaciones, estructuras espaciales y transformaciones para generar significado visualmente. Explora una forma de literatura diagramática en la que una imagen puede leerse, una oración puede verse y una composición simbólica puede evolucionar hasta convertirse en un mundo narrativo.
This complementary atlas explains the operations, structures and recurring relationships of the Chimeric Glyph System.
Este atlas complementario explica las operaciones, estructuras y relaciones recurrentes del Sistema de Glifos Quiméricos.
The Chimeric Protocols of Transmutation and The Book of Split Ink
At the center of the CGS project you can find a hybrid artbook that contains two interdependent works: The Chimera Protocols of Transmutation and The Book of Split Ink. Together they form a hybrid visual-literary system in which image, narrative, symbolic structure and transformation operate as parts of the same field. (click on cover to download sample)
The Chimeric Protocols of Transmutation functions as the structural and operative side of the project. Its plates are conceived as visual fields governed by relations, thresholds, sequences, transformations and symbolic laws. Rather than illustrating a pre-existing story, the Protocols establish the conditions through which meaning can emerge. They can be read as maps, diagrams, ritual structures, narrative machines or fragments of an evolving visual grammar.
The Book of Split Ink occupies the complementary position. It gives narrative form to the awakening of those structures through divided consciousness, memory, embodiment and change. Where the Protocols tend toward law, architecture and symbolic operation, The Book of Split Ink moves through experience, perception and transformation. The two works remain autonomous, but they continually reflect and activate one another.
This dual structure is central to the wider ambition of CGS. The project is not intended as an illustrated novel accompanied by diagrams, nor as a visual manual supported by fiction. Instead, text and image are designed to function as parallel systems of meaning. A narrative passage may reveal the human consequences of a symbolic transformation, while a CGS plate can expose the deeper relational structure beneath an event.
The reader therefore occupies a third position: that of the Alchemist. Reading becomes an active process of comparison, recognition and return. Meaning is not located entirely in the prose or entirely in the diagrams, but in the movement between them.
Together, The Chimeric Protocols of Transmutation and The Book of Split Ink explore the possibility of a literature in which a diagram can carry narrative force, a symbol can behave like an operation, and a city, body or memory can become part of a larger transformational grammar.
As a continuation of my investigation into visual language, symbolic systems and transformation, I am right now developing Berlin: Boundary / Signal as a new artist-book project (estimated publishing date Sep 8, 2027). The project approaches Berlin through two interconnected conditions: boundary and signal.
I understand boundary as a condition of distinction: inside and outside, access and exclusion, containment and permeability, property, memory and threshold. I understand signal as a condition of transmission: sending, receiving, routing, interference, repetition, attention and propagation.
Rather than documenting Berlin, I want to use these conditions as conceptual operators through which text, image, glyph, diagram and narrative can interact. The book will function as a constructed visual-semantic system in which meaning emerges through relationships between different forms of information.
This continues my investigation developed through The Chimeric Protocols of Transmutation / The Book of Split Ink and the Chimeric Glyphic System. In that work, I brought autonomous visual/symbolic and literary/fictional systems into a single material structure. With Berlin: Boundary / Signal, I want to extend this method into a specific urban context and allow Berlin to generate a new set of relationships and transformations.
They are, in that sense, both works of fiction and experiments in how fiction itself might be constructed.
