The Diagram as a Bridge Across Communication Divides:
Towards a Rhizomatic Pedagogy of Drawing
To draw is to make a mark. Drawing is a physical process and universal language of communication.
A diagram is a schematic representation, a symbolic and non-figurative interpretation of an idea, of something. It is a visual system of connections and relationships. A diagram exists irrespective of literality or conceptuality.
A communication divide is where differences in communication create a barrier to understanding between parties/entities. It can exist between individual people, groups, communities, species or systems. Communication divides can feed conflict and alienation. They atomise people and communities in a way that hinders inclusivity, action and resistance.
A diagram is a schematic representation, a symbolic and non-figurative interpretation of an idea, of something. It is a visual system of connections and relationships. A diagram exists irrespective of literality or conceptuality.
A communication divide is where differences in communication create a barrier to understanding between parties/entities. It can exist between individual people, groups, communities, species or systems. Communication divides can feed conflict and alienation. They atomise people and communities in a way that hinders inclusivity, action and resistance.
This project is an interrogation into the role of the diagram as a method and a form - through which I propose the act of drawing diagrams as a method for the crossing (or bridging) of communication divides.
I use the term imagined logic to refer to the ability that diagram drawing has - to create systems of reason that do not exist in the physical world or cannot be explained through the use of language.
A diagram can be made up of lines and nodes that join together to represent a connection. So, the act of drawing a line between nodes (these could be words or symbols or images) instantaneously creates a relationship, a connection that might not otherwise exist. I might draw a line between things that I perceive to be connected, if I wish for the connection to be seen by others. Or alternatively, I could draw a line to represent a connection that I know not to exist - and once the line is drawn, I could imagine a way in which they do relate to one-another.
This is a process of bridging - using drawing to find common ground - depicting change and flexibility.
A diagram can be made up of lines and nodes that join together to represent a connection. So, the act of drawing a line between nodes (these could be words or symbols or images) instantaneously creates a relationship, a connection that might not otherwise exist. I might draw a line between things that I perceive to be connected, if I wish for the connection to be seen by others. Or alternatively, I could draw a line to represent a connection that I know not to exist - and once the line is drawn, I could imagine a way in which they do relate to one-another.
This is a process of bridging - using drawing to find common ground - depicting change and flexibility.
(Communication, perception, mediation and representation)
A diagram can communicate perception; it can the map the way that an individual or a collective body understands certain systems or networks.
The following diagrams show a unique, momentary perspective, Through them, I am pushing against the idea that a diagram has to be concrete or universal in meaning.
I am using them as a way of communicating the way that I perceive networks of communication.
I have called them ‘Social Ontologies’ – an ontology, in this context has a double meaning: it is a set of concepts within a subject area showing properties, relationships and connections – and it is also the metaphysical study of being or existing.
A diagram can communicate perception; it can the map the way that an individual or a collective body understands certain systems or networks.
The following diagrams show a unique, momentary perspective, Through them, I am pushing against the idea that a diagram has to be concrete or universal in meaning.
I am using them as a way of communicating the way that I perceive networks of communication.
I have called them ‘Social Ontologies’ – an ontology, in this context has a double meaning: it is a set of concepts within a subject area showing properties, relationships and connections – and it is also the metaphysical study of being or existing.
The diagrams are also representational. They hold a semiotic, symbolic value. Throughout my experiments, each type of node or line has come to represent something different. However, the symbols are fluid, and I have not created an index or taxonomy, nor have I shared what they mean with anyone.
I have made this choice because I want these drawings to be mediative. Hegel defines mediation as a reflective process of understanding through which reality is transformed into thought. It suggests a social process of making sense of the world, often through language or images.
I have made this choice because I want these drawings to be mediative. Hegel defines mediation as a reflective process of understanding through which reality is transformed into thought. It suggests a social process of making sense of the world, often through language or images.
My conviction for design/drawing to mediate, comes from an opposition to immediacy as an aesthetic trend and a belief in illustration and design’s culpability for capitalist hegemony.
Literary theorist Anna Kornbluh explains mediative art as something that invites its viewer to build bridges between what they see and what they already know, interacting with it in a slow, contemplative way.
Our reliance on aesthetic immediacy leads us to see design that doesn’t transmit obviously or instantaneously, as somehow elitist or inaccessible. This rush to understand acts as a societally imposed aversion to critical thinking that atomises us and stunts collective agency.
If design acts as mediation, it pushes us to question, to categorise, to face uncertainty together and we can then begin to develop a shared experience and a common language.
Literary theorist Anna Kornbluh explains mediative art as something that invites its viewer to build bridges between what they see and what they already know, interacting with it in a slow, contemplative way.
Our reliance on aesthetic immediacy leads us to see design that doesn’t transmit obviously or instantaneously, as somehow elitist or inaccessible. This rush to understand acts as a societally imposed aversion to critical thinking that atomises us and stunts collective agency.
If design acts as mediation, it pushes us to question, to categorise, to face uncertainty together and we can then begin to develop a shared experience and a common language.
This diagram represents Deleuze and Guattari’s De/Reterritorialization.
Much of this research has centred around poststructuralist philosophy. Through reading then drawing then discussion, I have been able to gain a contextualised understanding of these theories which have then become the foundation for my diagrammatic method.
To complete this cycle, I have then used this method to teach others about poststructuralist philosophy within design.
Much of this research has centred around poststructuralist philosophy. Through reading then drawing then discussion, I have been able to gain a contextualised understanding of these theories which have then become the foundation for my diagrammatic method.
To complete this cycle, I have then used this method to teach others about poststructuralist philosophy within design.
This diagram represents Jacques Derrida’s idea of literary deconstruction.
I used it for a workshop that I ran for my some of my peers at RCA that focused on turning theory into method, set within a brief involving another of Derrida’s texts: ‘Archive Fever’.
In a way, this project attempts to deconstruct drawing/design pedagogy. Through separating the biases of figurative/non-figurative and arborescent/rhizomatic, and platforming the side less favoured by the capitalist apparatus – my hope is to create a rupture, that reveals an Undercommons where drawing/design are no longer interdependent on capitalism and are instead tools of resistance.
In a way, this project attempts to deconstruct drawing/design pedagogy. Through separating the biases of figurative/non-figurative and arborescent/rhizomatic, and platforming the side less favoured by the capitalist apparatus – my hope is to create a rupture, that reveals an Undercommons where drawing/design are no longer interdependent on capitalism and are instead tools of resistance.
This diagram represents the steps (of appropriation, decontextualization and intervention) that constitute my next approach to diagrammatic drawing.
I began these publications by appropriating over 200 diagrams from vintage engineering textbooks, then, after removing most written information, I made a visual intervention in each diagram that would give them new meaning.
Within ‘Technical Drawing’ I hope to have highlighted a sense of plasticity and sensitivity in the diagrammatic form. Each section of the book focuses on a different new context, ranging from maps to narratives to prayer settings and scores.
One could understand this process as a reterritorialization, and a microcosm of a larger dismantling and repurposing of rigid, oppressive systems.
I began these publications by appropriating over 200 diagrams from vintage engineering textbooks, then, after removing most written information, I made a visual intervention in each diagram that would give them new meaning.
Within ‘Technical Drawing’ I hope to have highlighted a sense of plasticity and sensitivity in the diagrammatic form. Each section of the book focuses on a different new context, ranging from maps to narratives to prayer settings and scores.
One could understand this process as a reterritorialization, and a microcosm of a larger dismantling and repurposing of rigid, oppressive systems.
The most significant development that this publication initiated within the larger project - was the shift from individual to collective interpretation. This happened as part of I VISITED TEXTUAL AT TATE AND NOW I HAVE ARCHIVE FEVER where me and three other musicians performed improvised audio interpretations of the decontextualised diagrams.
This step also felt crucial in the sense that it pushed my drawing method into a realm that was no longer just visual - further highlighting its flexibility as a form. It also felt monumental for me as a practitioner, having (until very recently) seen my illustration/design work and my musicianship as fairly separate entities.
This step also felt crucial in the sense that it pushed my drawing method into a realm that was no longer just visual - further highlighting its flexibility as a form. It also felt monumental for me as a practitioner, having (until very recently) seen my illustration/design work and my musicianship as fairly separate entities.
I hold a strong belief in the power and importance of the collective. This firstly comes from a scepticism of the role of ego/individualism within creative education and industry. I see this as playing directly into the hands of capitalism by encouraging an every-man-for-himself attitude – and increasing atomisation and polarisation which works to prevent grass-roots mobilisation.
This leaning secondly comes from an aesthetic preference for the complexity, multiplicity and unpredictability of collective works. I also believe in collectivism as a pedagogy that fosters not only adaptable and interesting creative practitioners but also just good people who are caring, generous and open.
Since the beginning of this project - I have planned and facilitated seven workshops all focusing on different elements of diagram drawing, non-figurative making, publishing and philosophy.
These workshops (and my experience working in community arts*) have proved to me that no matter the critical value or good intention behind a project, its entrapment within an academic institution puts a limit on the positive effects it could have in the real world.
This leaning secondly comes from an aesthetic preference for the complexity, multiplicity and unpredictability of collective works. I also believe in collectivism as a pedagogy that fosters not only adaptable and interesting creative practitioners but also just good people who are caring, generous and open.
Since the beginning of this project - I have planned and facilitated seven workshops all focusing on different elements of diagram drawing, non-figurative making, publishing and philosophy.
These workshops (and my experience working in community arts*) have proved to me that no matter the critical value or good intention behind a project, its entrapment within an academic institution puts a limit on the positive effects it could have in the real world.
*I worked for a year (and still do work whenever I am back home) at Venture Arts in Manchester. The creative process there is completely led by the artists and is never steered by external opinions or frameworks. It is obvious to me that this freedom of expression has allowed these artists to find unique visual languages in which they can authentically and successfully communicate their passions, feelings, ideas and opinions.
[Colour] Sun or ‘bracketcolourbracketsun’ is a group project of recent graduates from various arts and humanities disciplines. Over the course of a year, I supported the group in developing new visual interpretations of old literature using non-figurative drawing and mark making, and working in collaborative/experimental ways.
Additionally, through my work as a musician, I also understand audio to be a naturally rhizomatic/symbiotic/interconnected form of creative practice. The collective composition process in which my 11-piece experimental folk ensemble Brown Wimpenny compose and arrange music has been a major influence on my approach to this project.
[Colour] Sun or ‘bracketcolourbracketsun’ is a group project of recent graduates from various arts and humanities disciplines. Over the course of a year, I supported the group in developing new visual interpretations of old literature using non-figurative drawing and mark making, and working in collaborative/experimental ways.
Additionally, through my work as a musician, I also understand audio to be a naturally rhizomatic/symbiotic/interconnected form of creative practice. The collective composition process in which my 11-piece experimental folk ensemble Brown Wimpenny compose and arrange music has been a major influence on my approach to this project.
Indexical Grid of Diagrammatic Symbols
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