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feynman s method may provide insight into a way of diagramming non lineal or reciprocating causal events in art and other disciplines one of our fellow correspondents martin ternouth discussed the potential pitfalls of crafting visually sophisticated yet content thin presentations i have to apologize for losing the thread there are a number of threads on mark lombardi s drawings of corporate and political intrigue including analytical design sculpture there s also an article in the november 2003 art in america certainly lombardi s drawings of the 1990s address similar design concerns in a more cartographic and thorough manner yet i find it interesting that lombardi has something of the same problem that barr did where to start and how to finish charles and ray eames have come up in several contexts on ask e t and they have a place here too here s a set of network diagrams charles made taken from the work of charles and ray eames abrams 1997 both place the key figures at the center of the arrays the first a preparatory sketch for their 1969 what is design exhibition is captioned diagram by charles eames showing the connection of the eames office to important clients patrons and colleagues the second ca 1971 bears this caption diagram by charles eames entitled friends and acquaintances for the bicentennial exhibition the world of franklin and jefferson these obviously show only connections as do the barr and lombardi diagrams with scant emphasis given to strength of the connection or the waxing and waning of the relationships over time the eames connections diagram does set up a planetary system of links that indicate some strenght of relationship but these diagrams may provide a different way of looking at the course of modern art the barr chart makes bare the predilections and prejudices of its preparer that advances in art are generated primarily by prior movements this belies the active searching out of influences by artists perhaps a more interesting chart would go the other way lines heading out from various artists to what they were looking at including their own prior work similar to the eames diagrams this could include a double headed arrow or opposing arrows between matisse and picasso for instance or a circular arrow arcing from picasso back to himself david smith in whose work can be found a broad set of external influences also wrote my sculpture and especially my drawings relate to my past works the 3 or 4 works in progress and to the visionary projection of what the next sculptures are to be 1953 in david smith by david smith holt rinehart and winston 1968 artists study no work with greater intensity than they do their own barr feynman and lombardi all use the same line weight although barr and lombardi make use of both black and red in text and connecting lines with barr and feynman this may be as a result of limitations coming from the print shop clearly it s an aesthetic decision with lombardi perhaps differing line weights differing colors or color densities could indicate the import of any influence or connection there may also be elements of influence that remain unavailable to diagrammatic description late in his life georges braque commented on the height of the cubist years picasso and i said things to one another that will never be said again that no one will ever be able to understand 1978 in picasso and braque pioneering cubism moma 1989 what must that have been like and how do you diagram that edward tufte says december 3 2003 at 11 46 pm the inherent evidential and presentional problem in linking a network of nouns by arrows or lines is that while the nouns are specific narrow complex the arrows are non specific generic ambiguous and mean differently in nearly every use that is the level of analysis greatly differs for nouns compared to the links the nouns are relatively crisp detailed the links soft simple dichotomous either there is an arrow or there is not to understand the content here the nature of the link is the key issue what was the dynamic character of the relationship say among picasso braque and matisse lines and arrows are in effect verbs showing how one noun is related to another yet the verb is just a arrow always an arrow in the art chart the arrows mean all sorts of things caused saw taught visited saw in a gallery was a friend of was thought by barr to be linked traded paintings with was imitated by answered paintings by and so on the barr art chart is an important and powerful drawing it does illustrate however the necessity of presenting some evidence about the character of the relationships somewhere else in the essay because the arrows don t say much at all exactly same issues arise from the absence of arrows between certain nouns as well one practical design consequence is that each arrow might be accompanied by one or two verbs describing the character of the relationship between the pair of nouns dave nash says december 4 2003 at 12 38 pm would barr s chart be improved by adding miniature archetypes of each school while not a substitute for a walk through the gallery the small multiples can show why barr finds a link and what was adopted color line shape subject space etc are all of barr s arrow verbs positive surely some influences must be rejected mocked loathed escaped steve sprague says december 4 2003 at 9 34 pm dave nash s last comment is on the money barr s solid lines do imply a wholesale direct positive defining connection if not stylistic influence while the absence of a line as dr tufte points out suggests none at all but it ain t as george and ira told us necessarily so that s one of the problems with connecting artists solely by style or movement the sometimes contradictory thinking and practices of individual artists are what count and these change with time and prove nearly impossible to pigeonhole in this light and as dr tufte suggests the connecting lines on barr s chart could use some annotation one example with rejection in mind the link from cubism to dadaism surely refers at least to duchamp and picabia both of whom came under the sway of cubism early in their careers and then rejected it in fact a part of dada rhetoric especially from duchamp came to include a renunciation of all art and artists involved with the merely optical including cubism and the cubists picasso braque the whole lot would you characterize that as a positive influence depends i suppose on how you define positive and which side of the influence you re looking from jackson pollock once said that his time in the studio of thomas hart benton was important to him mainly as something to react against he later came to feel that he was better off having studied with such a strong if oppositional personality an aesthetic character building experience if you will however benton clearly had a profound impact on pollock s art and you can see the abstract ghosts of benton s looping figuration in pollock s mature work was that a rejection or a fundamental influence or some sort of hybrid and you certainly wouldn t want to ascribe that sort of relationship to any of the other new york school artists these complex subjects are debated at length in classrooms and studios coffee shops and bars and multitudinous books and articles are written about them maybe the connecting lines should be underwritten with source citations for further contemplation edward tufte says january 10 2004 at 10 20 am see the interesting and understandable discussion of feynman diagrams at the american scientist here note the labels on the linking lines and the lack of node boxes and circles niels olson says july 9 2004 at 5 25 pm in the chemistry building of the university of maryland i ran across a similar diagram the mallinckrodt outline of the history of chemistry copyright 1961 prepared by herbert s klickstein based on the 1927 outline by norris w rakestraw it was far more dense and detailed than this i regret i haven t had need to go by the poster again with a camera and i haven t found a digital rendition on line expasy has two wonderful diagrams of biological pathways the home page has links to both each cell links to a detail and each name in the detail links to specific enzyme information they are available in paper copy although the enzyme data isn t in the wall sized poster the diagram was originally designed by dr gerhard michal in 1965 as a wall poster but unusually it adapts well to this web presentation format the diagram requires careful study while the overall structure is visible at a distance one must zoom in to see individual links copies of the poster are now produced in collaboration with roche and can be ordered for free maximilian schich says october 4 2005 at 8 07 am there is a new book dealing chiefly with barr s chart s astrit schmidt burkhardt stammbaume der kunst zur genealogie der avantgarde berlin akademie verlag 2005 ca 500 pages in english the same author has published the article shaping modernism alfred barr s genealogy of art in word image 16 4 october december 2000 p 387 400 ken burnside says march 24 2007 at 12 11 pm in my line of work designing games i have to give referees a mind set and tool set for describing relationships between antagonist characters their motivations and the motivations of the characters played by other players i use causal diagrams based somewhat off of tufte and a few books on writing romance novels there are three basic ties that matter for writing fiction and for running roleplaying games ties of blood ties of sexual tension and ties of obligation these all form bonds between characters that can be used to coerce them into acting so i give the following advice start with a blank sheet of paper the bigger the better 11 17 is ideal in the center of the paper write the name of your chief antagonist under that character s name write down what they want and if different what they think they want preferably in two different colors of ink or one in block printing the other in cursive next write down the names wants and believed wants of people related to your antagonist related in this context means one of the following relationships ties of blood and kinship ties of sex or sexual tension and ties of obligation and duty now write down the names and the motivations of all the player characters who will be playing in this scenario draw thick black lines between the names of characters that are related to each other by blood draw medium weight black lines between characters that are related by sex or sexual tension draw lightweight black lines between the names of characters related by duty and obligation if there s a power disparity have an arrowhead on the end of the line of the person at the lower end of the power continuum if the power level is roughly equal use a circle to indicate this if you haven t decided on the power level don t adorn the ends of the line do that during the game this is the sinew layer of your conflict and relationship map the next layer up are the nerves take two highlighters we recommend blue and pink but any two colors will work and draw arrows between characters a blue arrow means that the character the arrow originates from likes the character the arrow points to a pink arrow means the target is disliked by the originating character if the tenor of the relationship is mutual draw two arrows going in opposite directions if you need to you can specify a particularly intense relationship with a thicker highlighter line but we recommend against it this map is an easily grasped graphic of all the relationships that give velocity to your story in particular note that we ve minimized the words put on the map to motivations and wants this is deliberate you may not even know until the game is running why there s a pink line indicating dislike between two characters and something will pop into your head when you re setting up the scene jot a quick note down for future reference and run with it this is giving you a frame work for improvisational storytelling and should be fluid rather than rigid because this is a graphical display of narration any scene that doesn t alter a relationship on the map or alter the perception of any relationship on the map is unimportant and should be minimized or skipped similarly when assigning motivations the only words on the maps you re assigning motivations that will be interesting for your players not motivations that are interesting to the characters in question matt r says may 24 2007 at 8 44 am here is a very nice causal diagram linking people who attended a wedding by one of the most memorable story that linked them the text provides concrete reasons why the people are linked and also a directionality inherent in the direction of the text it shows a number of et s design principles at work one of which is passion for the content this clearly took a lot of time finding the definitive story that could be shared and hints at relationships humour and life history and shows a high regard for the guests at the wedding featured here on visual complexity tchad says may 24 2007 at 1 38 pm i was recently shown a fishbone diagram which i am told was invented in 1943 in tokyo by professor kaoru ishikawa niels olson says july 21 2008 at 8 56 am this is about an hour google tech talk on server side security in which neil daswani has some very good work a day diagrams of the code that goes between web browsers servers and attackers which he uses to very effectively illustrate how websites can be hijacked for the purpose of aiding and abetting in theft of private information and money he explains the very common attack mechanisms of sql injection and cross site scripting but the reason for the post here is really the diagrams that he uses powerpoint is unfortunate but these diagrams in and of themselves were probably born on a chalkboard somewhere they are remarkably similar to feynman diagrams can any computer science folks tell us are these standard forms or something novel for example mark says july 21 2008 at 10 44 pm yes they are very common in computer science you will typically see them in description of protocols or any sequenced set of operations you might see them coded up in tools for uml as they are part of basic behavioral modeling in this case they are called interactional diagrams or sequence diagrams but they definitely pre date uml niels olson says february 3 2009 at 1 40 pm the new york times has an interesting visualization of what people were text messaging during the super bowl niels olson says february 17 2009 at 8 17 am compare barr s chart which opens this thread to this chart illustrating the connections between np complete problems cory bernat says march 14 2009 at 12 52 pm nina katchadourian is another artist who takes advantage of how it is easy to draw a linking line or an arrow of implied causality her genealogy of the supermarket arranges advertising icons into a humorous but i...