The writing and documentation (drawing) of musical performance is never concrete, and although there might be a hegemonic system, it is clear and obvious that there are infinite alternate options which have been used throughout history and are being used (more often underground) in the present. If (rightly so) we consider the traditional western five-line staff notation system as a symbol of power, structuralism and colonialism, then the existence of these alternate options/interpretations signify the possibility of dismantling of hegemonic/oppressive structures in the wider political/societal context.  

In the context of rhizomatic theory, this disrupting or dismantling of a section of arborescent structure can create a rupture, out of which new rhizomes grow, new connections form.

In relation to drawing, it is reasonable to consider traditional observational drawing as a parallel hegemonic system to the five-line stave. Therefore, we must (once again) radically veer away from this way from this method, and foster experimental and collaborative ways of drawing, creating a rupture/interruption (a visual cacophony) in the field of illustration, from which we can build new rhizomatic structures/neurones/paths. These will lead us (illustrators/drawers) away from being a tool for advertising, marketing and capitalist arborescence - towards a creative practice that fosters agency, crosses communication barriers, and allows us to understand ourselves as a thriving, interconnected, creative multiplicity.