Written Component 2
Where else—whether in a piece of writing that you find outside of the reading list, or in someone else’s creative practice—can you find evidence of a similar or opposing position?
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As previously stated, an arrow functions not only as a technical element, but also as a powerful tool of interpretation. This happens based on the elements around it which altogether structure a diagram; a simplified illustration that represents something in graphic form. Through my work, in graphic communication design circles, the diagram is treated as a medium of communication, an alternative visual language, a tool of storytelling that can be interpreted in any way.
My position focuses on the relationship between the diagram’s elements as facts versus interpretation, criticising what diagrams are used for. It is fascinating how a diagram consisting only of arrows, lines and shapes can be interpreted differently by each viewer. Why and how is this happening? Defining interpretation (2021), is not only about the explanation of a diagram’s meaning, but is also the way of interpreting, which is absolutely relatable to my position. The comparison between the actual elements of the diagram, the possible meanings and what visually looks like, will structure my research.
According to John Berger (2008, p. 8) whose research/position engages with something similar
to mine, “The way we see things is affected by what we know or what we believe.” Therefore, the way we understand an image is connected to our knowledge/lack of knowledge according to its subject. Knowledge is connected to our interests, experiences, what we see around us, etc. The constant information subconsciously sends messages, shaping one’s way of approaching various topics. Additionally, the affection that beliefs have to our perception, reminds me of an intangible filter between the eye and the artwork, filtering which information will pass through the eye in order to insert the brain and form an interpretation. In short, what we see with our eyes differs from the explanation of what we are seeing.
Finding out how complex, but interesting the process behind the interpretation is, worth mentioning is also the author’s argument, “we are always looking at the relation between things and ourselves” (Berger, 2008, p. 9). This means that when someone is looking an image, tries to identify with it, finding ways to somehow connect themselves with its content in order to feel it and be able to interpret it. In my case, the medium I am using is the diagram, which is more abstract than a clear image. This abstraction widens, even more, the borders of imagination.
Investigating which factors contribute to the interpretation of a diagram, led me to a series of experiments, finding out that the occupation or the origin of the viewer are not the main reasons behind an interpretation. Each viewer connects the elements of the diagram in a different way. This can also be a result of the informal structure of the diagrams I create, meaning that there is no constancy in the disposition of objects in the composition; the elements do not follow straight structure lines (Leborg, 2006, p. 22). This irregularity brings the non-linear approach to the game.
Considering types of thinking, thinking style can be defined as one’s mental pattern of perceiving/ understanding things. There are two general thinking styles; linear and non-linear. Linear thinking can be described as sequential, logical and rule-based, mostly common in Western society. Contrariwise, non-linear thinking is characterised by the automatic and unconscious processing of information and involves intuition/imagination attending to internal feelings in order to form an understanding (Groves and Vance, 2015, pp. 112-113). So, how the type of thinking is connected to the interpretation of a diagram?
Diagrams are l-i-n-e-a-r,
↳ mostly known for their technical → functional use. Through my iterations, I am interrogating and exploiting the form of the diagrams in a different way, proving that they can also be powerful interpretative devices. Using linear elements, but connecting them in a non-linear way is what pushes forward the diagram, and consequently the interpretation from the viewer. This can be a noun, a concept, or just a description of the elements the diagram consists of.
Summing up, the elements that the diagrams consist of, are simple technical elements that every human is aware of. Their simplicity lets the viewer interpret a diagram in any way, comparing it to anything, creating countless interpretations. A shape ⚫️ ⬛️ can be a moon/planet, an airplane, a person, a mirror, a spot,
ANYTHING!
Furthermore, the arrow can be used as an element of sequence, process, destination, transformation and storytelling (100 Screengrabs project). The straight line functions as an element of connection/sequence, in contrast to the dashed line that functions as an impermanent element and the wavy line that shows movement/procedure.
Reference List
Berger, J. (2008) Ways of seeing. UK: Penguin Modern Classics, pp. 8-9.
Groves, K.S. and Vance, C.M. (2015) ‘Linear and nonlinear thinking: A multidimensional model and
measure’, in The Journal of Creative Behavior, 49(2), pp. 112-113.
‘Interpretation’ (2021) Available at: https://www.dictionary.com/browse/interpretation (Accessed: 2 May
2021).
Leborg, C. (2006) Visual Grammar: A Design Handbook (Visual Design Book for Designers, Book on Visual Communication). New York: Princeton Architectural Press, p. 22.
Previous version
This version is more of an in-depth reflection on my studio progress and work (week 2), explaining and giving details through my experiments based on the references I have chosen.
As previously stated, an arrow functions not only as a technical element, but also as a powerful tool of interpretation. This happens based on the elements around it which altogether complete a diagram; a simplified drawing that represents something in graphic form. Through my work, in graphic communication design circles, the diagram is treated as a medium of communication; an alternative visual language; a tool of interpretation.
My position focuses on the relationship between the diagram’s elements as facts vs interpretation. It is fascinating how a diagram consisting only of arrows, lines and shapes can be interpreted differently by each viewer, creating endless stories. Why and how is this happening? Defining interpretation (2021), is not only about the explanation of a diagram’s meaning, but is also the way of interpreting, which is absolutely relatable to my position. The comparison between the actual elements of the diagram, the possible meanings and what visually looks like, will structure my research.
According to John Berger (2008, pp. 8-9) whose research/position engages with something similar to mine, “The way we see things is affected by what we know or what we believe. We are always looking at the relation between things and ourselves”. Therefore, the way we understand an image is also connected to our knowledge/lack of knowledge according to its subject. In my case, the medium I am using is the diagram, which is more abstract than a clear image. This abstraction widens, even more, the borders of imagination. So how the interpretations change from viewer to viewer and what are the factors that contribute to this?
→ My work will first be divided into smaller research/studio-based experiments that altogether will structure my investigative journey into the interpretation of diagrams and develop the rest of my project.
Investigating which factors contribute to the interpretation of a diagram, led me to my first experiment. I have created a series of interconnected diagrams, using interpretations from both worldwide designers (stage one) and people from other disciplines (stage two). Starting with the same diagram, each new iteration is developed based on the interpretation of the previous one. This iterative process led to the conclusion that the viewer’s occupation is mainly not connected to the way of interpretation. Each viewer connects the elements of the diagram in a different way. This is also a result of the informal structure of the diagrams I create, meaning that there are no regularities in the arrangement of objects in the composition; the elements do not follow straight structure lines (Leborg, 2006, p. 22).
My research then turned to types of thinking. Thinking style can be defined as one’s mental pattern of perceiving/understanding things. There are two general thinking styles; linear and non-linear. Linear thinking can be described as sequential, logical and rule-based and is more common in Western society. Contrariwise, non-linear thinking is characterised by the automatic and unconscious processing of information and involves intuition and imagination attending to internal feelings/impressions in order to form an understanding (Groves and Vance, 2015, pp. 112-113). So, is the type of thinking connected to the interpretation of a diagram?
During my second experiment, I have collected many interpretations based on one specific diagram (figure 3). Dividing them into categories (figure 4), most of the interpretations were describing a concept, interpreted in a non-linear way of thinking. Hence, the brain intuitively tries to connect the diagram’s elements analysing it as a whole, and consequently forms a concept. It is also worth mentioning that the type of thinking is not connected to the viewer’s origin (Western or Eastern cultures), but it is highly associated with the way one interprets the diagram. Berger’s argument that the way we see/approach things is associated with what we know/believe is still the dominant one on how viewers interpret my diagrams (Berger, 2008, p. 8). Additionally, what we see with our eyes differs from the explanation of what we are seeing.
Based on the above references and experiments, the following findings occurred. The elements that the diagrams consist of are simple technical elements that every human is aware of. The magic happens when these linear elements are connected in a non-linear way. Their simplicity lets the viewer interpret a diagram in any way, comparing it to anything, creating countless interpretations. A shape ⚫️ ⬛️ can be a moon, an airplane, a planet, a person, a mirror, a spot,
ANYTHING!
Furthermore, the arrow → can be used as an element of sequence, process, destination, transformation and storytelling (100 Screengrabs project), and finally the straight line comes to diagrams, functions as an element of connection or route, in contrast to the dashed line functions as a conceivable element and the wavy line that shows movement/procedure.
Overall, the diagram as a medium of communication can be used as a powerful GCD tool, functioning as a lens of storytelling that can represent almost everything and be interpreted in any way.
Reference List
Berger, J. (2008) Ways of seeing. UK: Penguin Modern Classics, pp. 8-9.
Groves, K.S. and Vance, C.M. (2015) ‘Linear and nonlinear thinking: A multidimensional model and measure’, in The Journal of Creative Behavior, 49(2), pp. 112-113.
‘Interpretation’ (2021) Available at: https://www.dictionary.com/browse/interpretation (Accessed: 30 April 2021).
Leborg, C. (2006) Visual Grammar: A Design Handbook (Visual Design Book for Designers, Book on Visual Communication). New York: Princeton Architectural Press, p. 22.