ACADEMIC RESEARCH • 學術研究 57 2025 UMAGAZINE 31 • 澳大新語 features by suggesting temporal and strategic elements through the tactile representation of paths, hunting grounds, and herd movements. This relic reveals a fundamental truth about diagrams: they serve not just as passive recordings but as active tools for understanding and innovation. As diagrams have evolved from cave walls to digital interfaces, they have developed into distinct patterns of creation that cross the boundaries between scientific and artistic practice. Scientific and Artistic Dimensions of Diagramming By observing the striking similarities between the diagrams found in scientific laboratories and those created in contemporary art practice, we can understand how diagrammatic thinking shapes knowledge production in both fields, and thus develop a framework for analysing these visual tools. By examining how artists and scientists create and utilise diagrams, we have identified four distinct but overlapping approaches to diagram-making: 1) Generative diagrams: These serve as dynamic tools for creative experimentation and discovery. Scientists visually brainstorm ideas to explore hypotheses and model possible solutions, just as artists such as Nikolaus Gansterer and Julie Mehretu use them to generate new visual and conceptual possibilities. In both cases, the act of mark-making becomes a form of thinking, as ideas are dynamically reconfigured to generate new insights. 2) Reductive diagrams: Both scientists and artists often create images that reflect what Roland Barthes called ‘an aesthetics of bareness and sacred simplicity’, indicating that the images are stripped to their essential elements. While scientists add simplicity or reduce complexity to isolate specific variables or relationships, artists such as Yves Netzhammer push this reduction further, creating a stark visual poetry that embodies complex psychological metaphors. 3) Notational diagrams: The systematic elements of scientific notation, such as grids, scales, and axes, appear in both domains. Scientists use them for scientific measurement, while artists like Minjeong An repurpose these conventions to movingly and often comically reframe subjective childhood memories through a lens of objective scientific analysis. 4) Embodied diagrams: Both scientists and artists recognise the role of physical gesture and movement in understanding complex ideas. Scientists often use hand movements to explain molecular interactions or mathematical concepts, while artists such as Mariella Greil make this embodied understanding explicit, treating the body itself as a diagrammatic tool for exploration and communication. A Poetics of Science: Practice-Based Research The abovementioned four approaches to diagram-making converge in contemporary 舞者在藝術裝置Perpetual Motion上演出，帶出作品將科學理解與身體體驗動態結合的深層含義。 A dancer performs on the art installation Perpetual Motion, adding a deeper layer of meaning to a dynamic fusion of scientific understanding and bodily experience.
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