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are concerned with logical information and all of which frequently present
the 'visual' nature of the visual arts would have commented on the use of such
auxiliaries to written discourse one could have understood the critic's neglect,
Alfred H. Barr, front cover of his 1936 book showing the evolution of abstract art
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In 1972 I began to collect diagrams which appear in art books and in art
literature of art, namely, art historians, art critics, art educators, philosophers
What intrigued me about the diagrams was that although they were usually
adjuncts of written expositions, their graphic character made them more akin to
paintings and drawings than to texts. Two questions puzzled me: first, what was
the difference between paintings and diagrams? And second, what was the
under severe strain - firstly because of the temporary triumph of sculpture in the
painting - I had a premonition that a study of diagrams might yield evidence that
would redress the balance of power in favour or visual rather than verbal modes
of communication.
Once a corpus of material had been assembled it was subjected to analysis. (2)
Although the diagrams were produced over a long period of time, the analysis was
diagrams, charts, graphs, tables and maps (this task is best left to semioticians). In
other words I simply used 'diagram' as a cover term for all graphic devices
encapsulating logical relations; qualities or processes. Other writers have suggested
'paragrams' as an alternative cover term. I will not repeat the detailed examination
Although diagrams and paintings both present visual information, they do not,
generally speaking, enjoy the same art status. (3) Paintings are regarded as
belonging to the Fine Arts while diagrams are regarded as belonging to the Applied
One important distinction between diagrams and paintings which the American
philosopher Nelson Goodman has identified is that the former are allographic while
the latter are autographic, that is, diagrams (like text) are designed for mass
replication and any copy just as valid as any other copy while paintings are unique
originals which cannot be exactly duplicated. (4) No doubt this is the main reason
why diagrams are not counted as visual artworks equal in status to hand-painted
anonymous (they may, like the London Underground diagram, have been designed
and re-designed by a number of graphic artists over the years) whereas paintings
attempted to synchronize the pictorial style of their diagrams with the style of
the art serving as subject matter. In general the results of such synchronization
convey. Thus it became clear that an ideally functional diagram, such as the one
physical medium and history of production are regarded as part of the subject
Goodman also points out that "the constitutive aspects of the diagrammatic as
compared with the pictorial character are expressly and narrowly restricted", thus
in a diagram only certain features are relevant to its meaning; other aspects, such
as thickness of lines employed, absolute size, the relationship of figure to field and
of image to framing edge, are unimportant while in a painting all such factors are
essential to its meaning. In fact the first task confronting the viewer of a diagram,
components of the work. For example, the import of a scatter graph - a graph
interpret scratches in the paint surface of a picture will depend upon whether we
decide they are intentional or accidental.
Another striking difference between a diagram and a painting is that the former
requires to be read (again like text) in a particular order while the latter does not
usually specify one reading sequence rather than another: diagrams direct the
Since the direction of recent art has been towards logical clarity and explicitness
and circles intervenes. (5) From this one might conclude that diagrams are more
primitive than pictorial systems but as far as adults are concerned diagrams are in
some respects more sophisticated than pictures because they are orientated
towards the conceptual rather than the perceptual. In other words, the artist who
appearance of reality while the diagram designer concerns himself primarily with
the conceptual infrastructure of reality. (Clearly this remark does not apply to
abstract paintings.)
Nor do representational paintings exhibit the variety of coding mechanisms
found in diagrams; the former generally make use of the iconic mode while the
latter make use of analog, digital, symbolic and linguistic modes in addition to
the iconic.
provide a perceptual experience which is enjoyed for its own sake and while it is
A number of art theorists maintain that art objects exhibit two kinds of
information, namely, the semantic and the aesthetic (some writers prefer the
a message which can be translated from one medium to another, while aesthetic
information is that part which is unique to the particular stimulus and receptor.
(6) It is important to emphasize that the distinctions occur in the plane of analysis
Because painting is perceived via the eyes it is generally defined as a 'visual' art
form (in spite of the fact that such a characterization creates enormous problems.)
As a result, some critics have asserted that painting's ultimate goal is pure
Formalism and have developed the aesthetic component of their paintings at the
expense of the semantic component. When other artists reacted against Formalism
they claimed that art was addressed to the mind rather than the sense organs and
forwarded the notion that art was a linguistic, or semiotic, activity. Inevitably
some of this latter group of artists gave priority to language in the belief that it was
rejected painting on the grounds that it was primarily concerned with affective, or
information can be presented visually. Leibniz, Euler, Venn and Boole all
developed the logical potential of graphs but perhaps the most sophisticated
system of logic diagrams yet devised was that created by Charles S. Peirce in the
period 1896 to 1913. (8) Peirce regarded his 'existential graphs' as his greatest
achievment and once remarked "I do not think I ever reflect in words; I employ
visual diagrams." This statement reminds us that mental images playas important
a role in thinking as words do, though the capacity for visualization is often
was the first fact discovered by Francis Galton when he undertook his pioneering
investigation of mental imagery in the second half of the nineteenth century. (9)
And it is only in recent years that psychologists have begun to study this human
faculty with the same degree of attention already lavished on language. (10)
undertaken here but it is worth making the point that a simple one-to-one
comparison is impossible because language occurs in two forms: first speech, and
second, writing. F. de Saussure claims that the object studied by the science of
linguistics is the spoken form (a sign comprised of concept and sound image) not
and language involves two different sensory modalities - sight and hearing. If, on
the other hand, one compares pictures and writing (or type) then one is dealing
with two "visual" products. A further complication is caused by the fact that the
signs are motivated (generally they are iconic), that is, a natural bond exists
between signifier and signified. Saussure uses the example of the symbol of
justice: a pair of scales; this sign cannot be replaced by, say, a chariot without
speech, is false because in mental experience all such oppositions dissolve. Even
grasp their meaning one needs to know a series of axioms, or rules, governing the
combination of the various elements - circles, dotted lines, tinctures etc. - from
supplied to Francis Galton. Plate one from Inquires into Human Faculty and
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Examples of Charles S. Peirce’s existential graphs, illustrated in
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Examples of language symbols devised by Charles K. Bliss illustrated in
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It might appear that paintings are not language dependent in this way but in fact
their meaning is clarified linguistically by titles, artists statements, and critical
writings which adhere to all pictorial works. This does not mean that language is a
superior medium because while pictures may depend upon language, language
depends equally upon imagery. Therefore the verbal and the visual complement
each other; the close alliance of the two is demonstrated above all in composite
media such as advertisements, film, theatre, and television. Diagrams by their use
Conclusion
painters could, in spite of the differences between diagrams and paintings outlined
earlier, increase the semantic component of painting and thus make it more
meaningful art.
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(1) The only other discussion of art diagrams of which I am aware is by Anthony
Venet has written a short article on a diagram: "Study of: graphic representation of
the function y=-x2:4" Extra (2) October 1974, pp. 5-11. Also, a description of the use
(3) An exception to this rule are the Yantras and Mandalas of Tantra which are
(5) See the summary of the paper "What children scribble and why" (1955) by
(6) These arguments derive from Abraham Moles’ book Information Theory and
(7) The artists who have given the greatest priority to language are of course the Art
& Language Group. At a public lecture Terry Atkinson explained that language was
adopted because it was "the most powerful medium". However, even language
appears to be inadequate for the needs of A & L judging from the fact that they
increasingly use symbolic logic, and most recently graphic displays (the latter even
employ colour).
(8) See The Existential Graphs of Charles S. Peirce by Don D. Roberts (The
(9) See Francis Galton's Inquiries into Human Faculty and its Development, 2nd ed.
(10) See Rudolph Arnheim's Visual Thinking (London: Faber, 1970) and Robert H.
(11) C.K. Bliss, Semantography (Sydney: Bliss, 1946-49). Patrick Wallis Burke "One
writing for one world - the pioneer work of C. K. Bliss,’ Icographic (8) 1974, pp. 2-5.
Fontana/Collins, 1974).
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This article was first published in Control, no 9, December 1975, pp. 18-20, Control
is an artists’ magazine edited and published by Stephen Willats. See website
http://www.controlmagazine.org
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John A. Walker is a painter and art historian. He is the author of the booklet A Few
http://www.scribd.com/doc/17092444/A-Few-Semiotic-Paintings-PDF-File
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