Diagrammatics represents a key term coined to cover a broad array of skills, approaches, methods or complete methodologies, and sciences dealing with the intellectually loaded use of graphics (diagramming) as the main tools of explanation and support in knowledge acquisition, production, and transmission, development of critical thinking, and action in practical situations. Assuming that visual scriptures contain a distinctive intelligence – some kind of an internal logic hidden in the background of the visible traces – it may be said that diagrammatic work reveals its structures; it displays cognitive patterns in thinking and making while one is engaged in design problem-solving and processing (design reflection and production). Conceived as cognitive instruments, stills and dynamic recordings of thinking actions, or as proofs of profound neural activities and intellectual agendas which direct design interventions and decision-making, diagrammatic procedures and notations generate distinct registers through which mind performance can be understood and represented, and also guided towards unprecedented outcomes.
The Diagrammatics series aims to provide critical review and debate through the cutting edge theoretical, practical, and experimental interdisciplinary works that construct new diagrammatological and diagrammatical discourses while dealing with spatial problems and ideas. It is based on intellectual perspective of visual performance (visual logic and semiotics) which by definition employs graphics as instruments of cognitive inference in scientific and artistic design research, conceptualisation, theory and philosophy, practical solutions and application, or hybrid (architectural) design production. Tracing methods and scriptures through which design reasoning processes are externalized, it addresses all the creatives whose key questions might contribute to its scientific body of diagrammatics (Kulpa; Anderson, Meyer, and Olivier; Blackwell; Pombo and Gerner; Ćirić; etc.) and diagrammatology (Stjernfelt).
Regarded as the most convenient means of transfer and conversion from one medium into another, from one disciplinary or thinking system into another, while also maintaining subjects of this translation in-between – in an abstract relational state of multiple potential, affiliation, and activity, and a state of specific coding – diagrams and diagrammatics are here investigated as architectural design and research strategies, figures and frameworks of design investigation and invention. Considering their transitive inter-disciplinary and cross-disciplinary creative features, and multiplicity depending on the given disciplinary direction and constraints, when the focus is placed in the context of design, it presumes that design, specifically architectural one and the one of a broader spatial knowledge and competencies, shapes them and the whole field of diagrammatology in a rather distinctive way. Hence, the aim is to document the most supportive evidences to these claims as well as to represent the arguments and standpoints which recommend their rethinking and reinvention as accepted lines of reasoning.
Revealing hidden networks and connectivities among numerous ideas and concepts, the diagrammatic strategies highlight distinctive reasoning structures that make them unique, context-specific, and authentic even when broadly referring to historical foundations or specific entities from within the archives of a complete world knowledge. As instruments calibrated to produce fine “aesthetics of thought”, expressing thereby high artistic values and qualities, they are also, undeniably, grounded on firm scientific facts and intellectual weaving through different themes and issues. In this way, merging artistic and scientific realms into the one integrated filed of interest, they stand as proofs of their inevitable coupling while one inclines towards innovative and outstanding solutions to design tasks he has been confronted with.
The main call is structured around 4 tracks, each outlining a specific thematic framework.
We call you to act on and intervene on given calls. Papers are not limited to respond to only one call, we welcome papers addressing the topics and questions by way of introducing a conceptual perspective, presenting particular practices, as well as those speculative in nature.
Guest Editor: Dragana Ćirić
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To submit a paper, go to Author Guidelines and follow the paper and submission guidelines.
Please note that all submissions must be made via e-mail to firstname.lastname@example.org.
The submission deadline is March 31, 2019.
For any questions, please contact Editorial Office at email@example.com.