Lawrence Abbott has long sustained the role of mediator, facilitator, and anti-orchestrator towards the dis-communicatory qualities of spoken and written languages. His attitudes concerning its indeterminacy, immateriality, irresolution and its ability to intervene reason and meaning sees him playing guest rather than host. By instigating technologies to ritualistically unpattern syntax and semiotics, he triggers generative interpretations of the chant, the prayer, the loop, the hymnal, the recital- situating himself within an undeniable collapse. Performative simulations see a literal choreography of his body- often kneeling or poised at self-crafted pews or altars, he becomes submissive to the generative-auditory dissolution of feedback loops. The ceremonial proclamations encode a kind of metaphysical assembly of recital and mimicry that channels itself towards something transcendental and of divination.
The assumption that ‘the voice’ is something possessed rather than something sacrificial plays influence in his conception toward a generative language- its apparition applied visually through chance conduced typefaces. In his work, we see the paranormal and spiritual phenomena’s associated with modern electronic media and communication technologies generate ghosts within literary machines to spawn a posthuman voice. The recorded voice and self-generating text that appears have an indefinite mutability that is often intolerable. Lawrence encourages a kind desirable confusion that chance operations carry with them and instigates a direct relationship with its witness.
If rhetoric is an exploitation, in ways that seem to serve the end of both, he as witness and speaker, encounters the electronic language alike the audience. In the transmutation and transcendence of meaning through a textual translation of the voice, this does not necessarily result in an absolute subsidence. Rather, he allows the original to become the duplicate and a conglomerate of itself. A self-replicating, incestuous and excessive mode of speaking. The assumed possession of voice is compromised through a textual rendering of this disintegration; causing monosyllabic and textual/visual stammers, slurs, stutters and impartings- a visual speaking of tongues algorithmically generated by the machine.
His work typically shifts between traditional serif typefaces and digital fonts created based on the textual equivalent to speaking tongues; spirit writing. This asemic form of writing alludes to a script not too distant from its Arabic origins- yet it ceases to maintain any decipherable connotation nor intended similarity. As undeciphered writing systems, it’s manifestation exists a byproduct of exactly that. In ritualistically listening to an auditory recordings of a host speaking in tongues in isolation for a duration of an hour and a half (the typical length of a Sunday service), Lawrence began to scribe individual notations without considering their intelligible form. Each mark made, would then correlate to a letter of the alphabet, a number or symbol to then be digitally reworked to suit the qwerty keyboard. A font now known as ‘Spirit’.
Lawrence has since gone on to create other asemic fonts and typefaces such as ASEM and TYPTX and continues to engage in the indecipherability of logoraphy and the languages within unpatterned communicatory devices.