This piece called Going underground from Guardian Unlimited: Culture Vulture describes how Dorian Lynskey adapted an image of the London underground designed by Harry Beck to map musical connections. What strikes me is the method: beginning with crayons and four sheets of paper. Lynskey describes the project as one of exploring the mapping possibilities for networks,

It's an experiment to see if one intricate network can be overlaid on a completely different one. The elegance and logic of Harry Beck's design - its combination of bustling intersections, sprawling tributaries, long, slanting tangents and abrupt dead ends, all sucked into the overturned wine bottle of the Circle Line - seems to spark other connections and appeal to the brain's innate desire for patterning and structure.

Without dwelling on how innate a patterning desire might be for us or how approrpriate the tube image works as a meta map (or how well the project captures the musical connections), grabbing crayons tells me that there is still something physical, phenomenological, about sorting and labeling. That is, the more complex the task, the more friendly and usable are the simplest tools.