Each part of this project is anchored by a numbered plate. The plates are not decorations and they are not summaries. They are arguments made in a different medium, drawn to be read at the same depth as the text beside them.
The idiom is deliberate: the schematic plates of nineteenth-century naturalists, the typographic discipline of Swiss editorial design, the restraint of the Japanese photobook. Negative space is the primary material. The palette is four notes and no more. Every line is the result of a decision.
The atlas exists because the abstractions in this argument have always failed in pure prose. A cost curve crossing another cost curve is an argument; drawn well, it is a faster one.