The master’s thesis explores the diagram as a mode of thinking, orientation, and
meaning-making. It begins from the author’s sense that photography often appears
only at the end of a process, as evidence of an already formed idea, and therefore seeks
to expand it into an act that unfolds through time, material, and space. The diagram
is not understood as a neutral illustration, but as an operative field of relations,
a generator of new connections, and a rehearsal space in which thought, image,
text, and gesture are continuously transformed. The research method is deliberately
non-linear: it is based on wandering, collecting, sequencing, archiving, and moving
between concepts, images, and terrain. The Karst, caves, and maps become models
of unstable orientation, where the gaze shifts, multiplies, and adapts to space.
The thesis is conceived as a restructured archive of correspondence, photographs,
drawings, and notes; its form therefore reflects its content by questioning rules,
translations, and ways of articulating space.
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