The Brooklyn Academy of Music’s Loss for Words exhibit is part of its annual Next Wave art festival, a celebration of visual arts, theatrical works, music, dance, and film. The theme of this year’s exhibit is the emergence of visuals as the primary mode of communicating rather than the written word — or, as the exhibit’s guide puts it: “a basic shift in our culture, from text-based communication to one where images are the dominant tool of expression.” Going into the exhibit during its Monday night opening reception, I sort of thought it was going to be about memes or reaction GIFs or red baseball caps. It was much dreamier. Sculpture artist Corey Escoto installed frames made of resin and LED lights around the windows of BAM’s Fisher building. Inspired by night-lights — described in the exhibit guide as “a consoling beacon in the dark unknown” — the frames are inscribed with non-sequiturs like “privatize me harder,” and “a portrait of Mark Zuckerberg with flowers.” Siebren Versteeg, a New York-based painter and programmer, hung an enormous screen above the escalators in the academy’s Peter J. Sharp building. Every day at 8AM, it pulls up the latest front page of The New York Times, then begins painting over it in accordance with a secret algorithm. But Los Angeles-based, Turkey-born artist Hayal Pozanti stands out with a collection of work that deals with themes of privacy, encryption, and translation. Pozanti has three paintings hung around the Peter J. Sharp building and one mural applied directly to an upstairs wall. Each one looks like an abstract shape, but actually has a meaning that’s private to her. “I didn’t want anybody to be able to decipher it,” she tells me. “I wanted some sort of personal input. It’s like an encryption machine.” To that end, Pozanti has created her own alphabet, which she calls “Instant Paradise.” It’s a series of 31 shapes, each one representing either a number, a letter, or both. All of her paintings are combinations of the symbols, cast in vivid colors. So to convey a single piece of data, she’ll weave together symbols that correspond to a set of numbers that add up to the value she wants to express. The paintings Pozanti has on