Cartography is a mode of representation. Map is the principal support and the diagram is abstract one. Paul Klee artworks are defined as diagrams. He represents images as a Visual code that cannot be considered simple representation, because it focuses non–visible factors for human eye. Vision comprises not only objectual perception, but a relation of forces between objects. It could be perceived as an abstract mode of vision. Paul Klee defined painting as a relation of forces and diagrammatic representation. The image in Paul Klee is decoded into Abstract Drawing Language depicting dynamic relations of forces between object in a topographic plane. It results a space/time diagram depiction. Diagrams are defined as the graphic representation of the relation between 2 or more objects. The result is a harmonic structure that is organised in geometric parameters. Formal elements (point, line, space) conforms the geometrical code in a dynamic relation including time.

In that sense, creates a visual cosmos where objects are in relation through vectors forces in time/space relations and also movement/counter-movement conceptualization. These dynamic forces relations are creating maps of forces, cartographies or circuits. Space turns into time in Paul Klee diagrams. Diagrams are then representation of time. Like in cinematography, diagram represents the dynamic relation between 2 objects, the movement through light. It is real-time based image in painting and implies the loosing of formalism. Paul Klee Diagrams rebuild a topos, a utopian and imaginary embodied place.

The abstract language diagram implies lecture and interpretation. Actually artworks are based in interaction. Hermeneutic turns into Interaction. There is no longer interpretation, but users, experiences. The aesthetic of reception is moving to the experience of senses. In technological version, it is the sense what are sublimated, avoiding systematically rationalist logic. The technological extension of human conscious implies the organic specialization and the comprehension of electronic technology as extension of our central nervous system. We introduce our physical bodies into our expanded nervous system. Media technology communications allows synergy, real-time communication, instantly and ephemeral. Sense becomes thinkable mechanism. Objective reality opposes subjective experience of conscious to lecture, interpretation and rationalism of sign and code. Instead Sensorial process is based in imaginary and memory (future and past mode of thought). To relation all senses in a complete way to approach a conscious state, which includes text, code and signifiers and lectors and users trying to surpass borders between objectivity and subjectivity. Digital media allow integrating sensorial modes into technology. Users get into them as in Tron, foundational Sci-Fi film, through an interiorised software journey. Digital system extends our sensation out of mind, out of body. Creating artificial reality, objective and allowing the experience of subjectivity as objectivity. Found ontology of being based in empirism, conscience, sensation and also dream as a real communicative estate of mind.