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A series of 11 drawings digitally produced show machinic systems that capture ‘the all’ including the aleatory nature of the real, chance and the unknowable. The Desert and the Forest have acted as metaphors for two comprehensions of the real, one from the position of metaphysics and the transcendental and another that is immanent. These populate contemporary culture as images of our relation to the unknowable: the vast sublime of desert and the claustrophobic entanglements of the forest. These drawings act as diagrams that force an engagement between these two images of reality – the organic and chaotic and the ordered and machinic – to fantasize about an equation and a game that intervenes and engineers their inequality. Between figurative renderings and symbolic figures; diagrams emerge that venture beyond the aesthetics of order. The starting point of these diagrams are associated with Ramon Lull, (b. 1232) inventor of an “art of finding truth” (ars inveniendi veritatis) and the works interpret these diagrams of knowledge and chance through the vector of dramatic literary and filmic narratives that have been set at the intersection of these two spaces. The drama here is centrally from noir Hollywood movies from the mid-Twentieth Century where we expose the plot, what could have happened…. In this the question of knowledge becomes a game and at the same time, a question of a specific form of noir violence.