Bringing William Engelen and Jorinde Voigt together in one exhibition is something that is obvious yet also surprising. Although their works seem to have something in common at first glance, their artistic approach in fact differs in many aspects. However, the common aspect is one of the processes focused on by the exhibition, Drawing a Universe: the transition from one level to another. Transformations of work phases, materials, media, images and sounds, the senses and imagination. Engelen is a fine artist and a composer. His interdisciplinary work oscillates between music score, performance, show, sculpture and installation. Voigt works with the media of drawing, collage and installation. Both artists use notations and diagrams as a representational means, although in different ways. Since the end of the 20th century, there has been a ‘boom’ in methods that enable artists to make the networked present perceivable in all its complexity and wealth of information. Charts, models, designs, notes, design drawings, cartography, algorithms and graphic music scores have become new fields of research within an autonomous genre entitled diagrammatics. According to Astrit Schmidt-Burkhardt, “behind the increased interest in diagrammatic, realistic pictures there has always been a subconscious need for structure in the form of factual visibility. In view of the huge amounts of data [...] a diagram suggests ‘this sudden overview’, which has increasingly been questioned due to the accelerating changes in the world of data.”1 One could suppose that notations and diagrams are based simply on calculation and pure objectivity. However, new artistic fields of research can be accessed once they are freed of this pretence. “Notation contains the certainty of an objective, visual, mathematic specification and at the same time the uncertainty of an intellectual reprogramming, the recreation of something else that is mobile, adjustable, unexpected”2, according to Michel Frizot. John Rajchman emphasises that the art of notation does not only lie in simply making the invisible, visible but much more in making what was previously inconceivable, conceivable. “It is only then that notation becomes artistic, philosophical. No longer satisfied with content that simply records the codes of a medium or the rules of a language, notation is used to outline new categories of thought, to explore and disclose them.”3 Engelen and Voigt do precisely this: they have discovered individual forms of notations and diagrams, which incorporate their perception, emotion and experience. It is this subjective aspect in particular that is emphasised in current studies on the theme of diagrammatics. Susanne Leeb states: “Nevertheless, diagrams in art deal with relationships and forms of classification. Hence the big question posed by many artists working with diagrams is how does each individual stand in relation to the cosmos, the world, society and other people – and is hence a question of subjectivity.