Lacan and Kristeva posit language and reality as imbued with a gradient defined by sex, its terminal nodes masculine and feminine. The masculine register is symbolic, and the feminine is the whirling motion of asignification. The symbolic male system institutes a rigidity of meaning and social codes, whereas the feminine ruptures and reorients those valences of meaning. They exist in a perpetual dance, war, contestation that allows for meaning to exist on a fulcrum that endows stability, but simultaneously endues its structures with the possibility of fluidity, movement and flight. Their unending negotiation constitutes the play of form. The feminine language is theorized by Lacan and Kristeva as an asignifying logos, consonant with the structure of the symptom. The symptom is conceived by Lacan as a communique from the unconscious, a riddle: its meaning must be continually deciphered anew. I undertake to show the way American experimental linguist Slattery’s work with the non-aural visual language called Glide follows the possibilities inherent within the feminine language. Glide is polyvalent and alive, perpetually in motion, yet the thread of meaning is maintained, the structuration of form never sacrificed in a continually reconstituting flow of movement.