The illustration consists of four panels arranged in a two-by-two grid.

Top-left panel: On a bright yellow background, four hand-drawn rectangular boxes contain text. The top box reads, THE AUTOGRAPHIC SELF IS... The three boxes below read, MEDIATED, CREATED, AND CONSTRUCTED.

Top-right panel: A hand holds a pencil and draws a rectangular box on a yellow background. Inside the box, the text reads, I BEGIN THIS WORK BY POSITIONING MYSELF AS THE ARTIST... A red pushpin is stuck into the wrist of the hand.

Bottom-left panel: Against a pink and orange background, two monarch butterflies are shown as cut-outs on beige paper. They are pinned down with thin needles and red pushpins. The caption below reads, THE COLLECTOR...

Bottom-right panel: Against a vibrant pink background, a line drawing of a woman with glasses and her hair in a bun is shown as a cut-out on beige paper. She is sitting with her knees tucked to her chest. A thin needle is pinned through the paper near her head. The caption below reads, ...THE CREATOR, ENTANGLED IN THE CRAFT.

The top panel shows a cartoon avatar of a woman with blonde hair and red glasses leaning on her hand at a yellow desk. She wears a turquoise cardigan over a yellow shirt. In her right hand, she holds a red pen, drawing dark, abstract geometric sketches on white paper. A turquoise desk lamp is positioned in the top right. Text at the top reads, I ALIGN THIS INITIAL DEPICTION WITH YALÇINKAYA’S 2023 USE OF A CARTOON AVATAR OF MYSELF AS A NARRATOR TO HIGHLIGHT THE SUBJECTIVE NATURE OF SCHOLARLY WORK IN THE HUMANITIES AND SOCIAL SCIENCES. 903. A speech bubble to the right says, MY CHOICES OF FRAMING, ANGLE, COLOUR, AND STYLE ARE DELIBERATE. Text at the bottom of the first panel reads, HOWEVER, SHIFTING FROM TYPICAL TO ATYPICAL REFLECTIONS OF SELF...

The bottom section is split into two smaller frames. The left frame shows a wooden spool of brown thread with a needle stuck through it. The right frame shows a single black thread curving across an orange background. Text above these frames reads, ...MY POSITION IN THE NARRATIVE AND MY ROLE IN THE STORY TAKE ON DIFFERENT FORMS. Two speech bubbles in the final frame ask, I AM THE THREAD. and OR AM I THE NEEDLE?

The illustration is divided into four panels with a header and footer of text. A single thin thread weaves through all panels.

Top Header: I AM THE SEWER—SEWING PANELS, IDEAS, AND ABSTRACTIONS ONTO THE PAGE.

Top-Left Panel: Two hands hold a needle and thread against a background of yellow, pink, and purple vertical curves. A text box reads: ABSTRACTION BECOMES A PRACTICE OF ARTISTIC SUBJECTIVITY (DRUCKER, 2022), CREATING SHIFTING CONNECTIONS BETWEEN THE NARRATOR AND THE CRAFT, DEPENDING ON THE METAPHOR.

Top-Right Panel: A vertical slice showing blue, white, and orange curved layers with a sewing pin at the top right. A large text box reads: MOTIVATED BY WHAT YALÇINKAYA (2023) FURTHER DESCRIBES AS THE ‘PURPOSE OF USING THE AUTOGRAPHIC NARRATIVE AS AN AUTOETHNOGRAPHIC METHOD...TO REPRESENT THE AUTHOR AS A VISUALLY EMBODIED PRESENCE NAVIGATING THE PHYSICAL, AS WELL AS, ABSTRACT SPACES OF ...THE WRITTEN/DRAWN PAGE.’ (903)

Bottom-Left Panel: Curved layers of blue, orange, and yellow. A text box reads: TOGETHER AS CREATOR, NARRATOR, AND READER, WE TRAVERSE THE NARRATIVE, FOLLOWING THE THREADS AS THE PIECES ARE STITCHED TOGETHER. YET THESE PIECES, THESE PANELS, LEAD ONLY TO MORE ABSTRACTIONS.

Bottom-Right Panel: A hand pulls a needle through a purple and orange background. Two small text boxes appear. One asks: OR DO THEY? The other reads: WHAT EMERGES WHEN WE SHIFT FROM A RELIANCE ON REALISM TO AN ABSTRACTED REALM OF AFFECT AND RELATIONALITY?

Bottom Footer: IF WE AGREE WITH DOUBROVSKY (2008) THAT, ‘MEMORY ITSELF IS FICTIVE, IS FICTITIOUS, MEMORY ITSELF MAY HARBOUR SCREENED MEMORIES’ (CÉLESTIN, 2008, 400, IN CONVERSATION WITH DOUBROVSKY), THEN WHAT INFLUENCES THE DEPICTION OF MEMORY WITHIN AN ATYPICAL MIND, WHEN IT IS THAT SAME MIND THAT ‘SCREENS’ THE MEMORIES?

The composition is divided into a grid of nine rectangular panels of varying sizes by thick white gutters. The background consists of fluid, organic watercolor shapes in saturated tones of yellow, orange, magenta, and blue.

Text elements are distributed as follows:

- Top: A two-line statement reads, ABSTRACTION IN COMICS OPENS ALTERNATIVE MODES OF PERCEIVING SPACE, FOREGROUNDING THE MEDIUM’S CAPACITY TO RENDER ABSENCE AND ERASURE VISIBLE. IN THIS SENSE, DRAWING OPERATES AS AN ACT OF RESISTANCE, A COUNTER-NARRATIVE PRACTICE.

- Upper Middle: A large white speech bubble contains text about the production of autographics as a form of activism and formal strategies of representation.

- Lower Middle: A rectangular text box quotes Potter 2023 regarding the aesthetic pleasure of reoccurring patterns and colors in abstract comics.

- Bottom Right: A final two-line statement reads, REALISM, AS A MODE, CAN REINFORCE DOMINANT WAYS OF KNOWING AND SEEING. ABSTRACTION OFFERS US SOMETHING ELSE.

Visual accents include ten orange pushpins with long thin needles scattered across the panels, appearing to pin the text boxes or specific color fields to the page. The needles point in various diagonal directions, creating a sense of physical layering over the abstract art.

The page is divided into six panels of varying sizes.

Top-left panel: Yellow and orange watercolor background with a thin black line. Text at the top reads: AS WHITLOCK 2006 POSITS, THERE IS A POWER OF COMICS TO TRIGGER NOSTALGIC MEMORY 967. AN ABSTRACTED VISUAL PALETTE WORKS WITH THESE MEMORY PROCESSES, ELICITING NOSTALGIA, AND IDEAS IN MULTIPLE WAYS.

Top-middle panel: Pink and blue watercolor background with three orange pushpins. A text bubble at the bottom reads: THE PAGE CAN HOLD MANY TRUTHS SIMULTANEOUSLY.

Top-right panel: Light blue watercolor background with a thin black line and one orange pushpin.

Middle-left panel: A line drawing of a woman with glasses looking upward and pointing. She is surrounded by a glowing aura against a rainbow-colored background. A speech bubble asks: WHAT DOES THIS REMIND ME OF?

Middle-right panel: Pink watercolor background with an orange pushpin. A text bubble reads: TOGETHER, WE ARE CONSTRUCTING A NARRATIVE ACROSS MULTIPLE PLANES, TIMELINES, AND SCALES.

Bottom panel: A larger line drawing of the same woman looking upward, partially overlapping a large block of text. The text reads: THIS INTERACTION BETWEEN CHROMATIC CHOICES ECHOES THE ABSTRACTION OF MEMORY ITSELF, ESPECIALLY WHEN FILTERED THROUGH A D H D MODES OF SENSE-MAKING. THESE VISUAL STRATEGIES SERVE AS EPISTEMOLOGICAL CUES, ENCOURAGING READERS TO NAVIGATE ABSTRACTION AS A VALID FORM OF KNOWING AND ALIGNING WITH WHAT SMITH AND WATSON DESCRIBE AS THE ITERATIVE, INTERACTIVE, AND INTERSUBJECTIVE DYNAMICS OF THE AUTOBIOGRAPHICAL... 2020, 9.

At the very top, a header asks. WHAT IS IT ABOUT AUTOGRAPHICS THAT MAKES THEM UNIQUE BOTH IN REPRESENTING MEMORY PROCESSES AND NEURODIVERGENT THOUGHT?

The upper row consists of three vertical panels featuring abstract, dark grey and black ink washes that resemble hanging chrysalises or organic pods against a light grey background.

Panel 1 (top-left) contains a black speech bubble stating. AS WHITLOCK 2006 STATES, DRAWING ON HIRSCH 2004 AND SAID 2005, COMICS PLACE PARTICULAR DEMANDS ON READERS THROUGH THEIR ENGAGEMENT WITH MEMORY PRACTICES. A second bubble at the bottom of this panel reads. SUCH DEMANDS, SHE ARGUES, HOLD EXTRAORDINARY POTENTIAL TO "FREE US TO THINK AND IMAGINE DIFFERENTLY..." WHITLOCK, 2006, 967.

Panel 2 (top-center) and Panel 3 (top-right) continue the abstract ink wash imagery with varying shapes of dark grey silhouettes.

The lower section features a large panel on the left and a narrow vertical panel on the right.

Lower-left panel. A teal desk lamp with a yellow glowing bulb is positioned on the left. The beam of light shines diagonally downward to the right, illuminating a vibrant patch of yellow, orange, and blue watercolor textures amidst a dark, shadowy background.

Lower-right panel. A final text block at the bottom of an abstract grey wash reads. AUTOGRAPHICS BECOME A WAY TO SHINE LIGHT INTO UNEXPLORED AREAS OF THE SELF, TO IDENTIFY COGNITIVE DIFFERENCES...

The illustration is divided into several panels with a teal desk lamp acting as a recurring visual anchor.

Top Row:

- Left panel: A teal desk lamp shines a bright yellow beam onto a bunch of green bananas hanging from a string. The background is dark grey with a green circular shape.

- Middle panel: A brown bat hangs upside down from a horizontal branch against a bright yellow background.

- Right panel: A brown chrysalis hangs from a branch against a yellow and orange background.

Center:

- Text reads: ILLUMINATING CONNECTIONS.

Bottom Row:

- Left large panel: Two teal desk lamps stand side-by-side on a grey background. Their cords are tangled at the base. The lamp on the right extends its head toward the next panel.

- Right top panel: A yellow and black striped caterpillar crawls on an orange surface.

- Right bottom panel: A monarch butterfly with yellow and black wings is shown in close-up.

Footer Text:

- Top left text: DIRECTING THE FOCUS AND...

- Bottom text: EXPLORING HOW THE WORLD IS EXPERIENCED AND HOW THOSE EXPERIENCES SHAPE BOTH COGNITION AND MEMORY—AND IN TURN, HOW MEMORY AND COGNITION SHAPE EXPERIENCES.

The layout consists of two rows and three columns of panels.

Top-left panel: A white text box at the top reads, THIS BECOMES A FORM OF ARCHIVING THAT LINKS SOCIAL, COLLABORATIVE, AND COGNITIVE PROCESSES, WEAVING THEM INTO A NARRATIVE OF THE SELF THAT DEPENDS ON THE PARTICIPATION OF THE READER IN THE JOURNEY. The background features blue and orange watercolor washes.

Top-center panel: A white silhouette of a seated person is centered against a vibrant pink and blue background.

Top-right panel: Abstract concentric shapes in shades of teal, orange, and grey overlap on a yellow and pink background.

Bottom-left panel: A large white text box contains a quote, AS SMITH AND WATSON 2020 NOTE, CITING DOUGLAS’S 2015 WRITING ON THE MULTIPLE i’s WITHIN THE ARCHIVES OF WRITERS, WHEN READ AS A PERSONAL AND PSYCHOLOGICAL TEXT, A WRITER’S ARCHIVE IS DEEPLY AMBIGUOUS; THE WRITER HERSELF IS CONTINUALLY PERFORMING DIFFERENT VERSIONS OF THE SELF, AND VARIOUS OTHER SELVES... The background shows curved bands of pink, blue, and green.

Bottom-center panel: A vertical panel with horizontal bands of white, blue, and pink watercolor.

Bottom-right panel: A white text box at the bottom reads, ...THAT BEING THE CASE, A WRITER’S ARCHIVE IS PERHAPS BEST UNDERSTOOD AS A SOCIAL AND COLLABORATIVE TEXT RATHER THAN A PURELY PSYCHOLOGICAL ONE DOUGLAS, 2015, 54. The background is a bright yellow wash with a teal and pink shape at the bottom.

The illustration is organized into two rows of three panels each, interspersed with academic text.

Top Text: DRAWING FURTHER ON SMITH AND WATSON’S 2010 EARLIER DISCUSSION OF MANY I’S IN LIFE WRITING, AUTOBIOGRAPHICAL SUBJECTIVITY EMERGES AS DISCURSIVE PATTERNS BOTH GUIDE AND COMPEL US TO TELL STORIES ABOUT OURSELVES IN PARTICULAR WAYS 32, WAYS THAT ARE MEDIATED THROUGH EMBODIMENT.

Top Row:

Panel 1: A teal and pink fox sits on the left, looking toward a speech bubble that reads: THE i IS PLURAL AND EMERGENT, SHIFTING BETWEEN GESTURAL AND SPECULATIVE FORMS OF SELF, WRITER, ARTIST, STORYTELLER IN THE AUTOGRAPHIC.

Panel 2: A person with green hair and glasses, wearing a purple shirt and green pants, crouches in a landscape of yellow and blue watercolor washes.

Panel 3: A vertical rainbow-like arc of pink, red, and yellow dominates the frame, with a white silhouette of a fox overlapping the colors.

Middle Text: THESE SHIFTS REFLECT BOTH AESTHETIC SENSIBILITIES AND A POLITICS OF REPRESENTATION, WHERE WHAT CAN BE UNDERSTOOD AS A NONLINEAR LOGIC...

Bottom Row:

Panel 4: A close-up of concentric watercolor rings in teal, yellow, and orange surrounding a central white void.

Panel 5: A dark silhouette of a fox’s head is cast against a pink and blue background.

Panel 6: A pair of hands in the foreground performs a gesture, casting the fox shadow seen in the previous panel. One fingernail is painted green.

Bottom Text: ...AND SENSORY FORM OF LAYERING ARE EMBRACED AS LEGITIMATE MODES OF KNOWLEDGE—EXPRESSING THE DISSONANCE BETWEEN EXTERNAL PERCEPTIONS AND INTERNAL CHALLENGES FACED BY THOSE NAVIGATING INVISIBLE COGNITIVE DIFFERENCES VENKATESAN and TOLANI, 2024, 172.

The illustration is divided into two horizontal panels.

Top Panel:

At the very top, a line of text reads, THIS IS BOTH PERSONAL AND COLLECTIVE. Below this, a group of people wearing face masks are seated at tables in what appears to be a classroom or workshop setting. The figures are rendered in black silhouettes or simple outlines against a vibrant, multi-colored background of pink, blue, yellow, and orange watercolor-style washes. Radiating black lines surround the group, suggesting energy or focus. A large white text box on the right side of this panel states: WE MIGHT CONSIDER THE CREATION OF AUTOGRAPHICS—FROM A NEURODIVERSE PERSPECTIVE—WITHIN A BROADER VIEW OF ACTIVISM, UNDERSTOOD HERE AS ACTS OF AGENCY THROUGH REPRESENTATION, RESISTANCE, AND EPISTEMIC REFUSAL.

Bottom Panel:

Set against a solid yellow background, two pairs of hands with different skin tones are shown playing a string game, like Cat’s Cradle. The black strings form a complex geometric web between their fingers. A text block in the bottom-left corner reads: BY EMPHASIZING COGNITIVE DIFFERENCES AND CHALLENGING MAINSTREAM NARRATIVE NORMS, AUTOGRAPHICS HAVE THE ABILITY TO CHALLENGE DOMINANT CONCEPTS OF MEMORY, COGNITION, AND AUTHORSHIP.

At the very bottom of the entire image, a final caption reads: IN A SOCIAL CONTEXT WHERE NEURODIVERGENT EXPERIENCES ARE OFTEN PATHOLOGIZED OR ERASED, ACTIVISM CAN ALSO BE UNDERSTOOD THROUGH THE REPRESENTATION OF ATYPICAL WORLDVIEWS BY THOSE WITH LIVED EXPERIENCE.

The page is divided into four panels with a header and multiple text boxes. Numerous translucent white and light blue butterflies are scattered across the entire composition, overlapping panel borders.

Header text: AUTOGRAPHICS CAN HAVE THE ABILITY TO VISUALIZE DISTORTION AND FRAGMENTATION AND COMMUNICATE THE COMPLEXITY OF MEMORY AND COGNITION FROM A NEURODIVERGENT PERSPECTIVE.

Top-Left Panel: A vertical rectangle featuring a blue square on a pink background above a brown and orange landscape. A text box below the header reads: ABSTRACTION BECOMES A METHOD FOR MAKING TANGIBLE SENSORY DISORIENTATION, TEMPORAL SLIPPAGE, AND THE EMBODIMENT OF COGNITION THAT RESISTS LINEAR COHERENCE.

Top-Right Panel: A large yellow field with a text box stating: IN THIS WAY, MEMORY IS NOT DEPICTED. RATHER, IT IS INVOKED THROUGH ITS AFFECT RATHER THAN A RELIANCE ON RESEMBLANCE.

Bottom-Left Panel: An orange hand holds an open book against a background of orange, yellow, and blue vertical stripes. A text box above it quotes Postema 2013 and Chute 2008 regarding the interpretive processes of reading comics and their nonsynchronous visual-verbal nature.

Bottom-Right Panel: A blue hand holds an open book with purple and green pages. A text box in the lower right corner cites Borkent 2023, discussing sense-making processes as the embodiment of multimodal cognition, challenging ableist expectations of linearity and objectivity.

The illustration is divided into two main sections by a white horizontal gutter.

In the top section, a woman with blonde hair and red glasses stands on the left wearing a yellow turtleneck and blue jeans. A speech bubble from her reads, DRAWING IS NEVER NEUTRAL. To her right, a dense swarm of orange, yellow, and light blue butterflies flies across a background of diagonal rainbow stripes. Two large text boxes are embedded here. The first states, EVERY MARK ON THE PAGE REFLECTS THOUGHT AND MEMORY. IN ITS RESISTANCE TO ERASURE AND NARRATIVE CLOSURE, AUTOGRAPHICS—AS AN EXPRESSION OF NEURODIVERGENT PERCEPTIONS—BECOME BOTH A FORM OF RESISTANCE AND A FORM OF CARE. The second box below it reads, AS HILARY CHUTE 2010 REMINDS US, COMICS DO NOT ASK US TO RESOLVE THE TENSIONS WITHIN THEIR MODES OF REPRESENTATION AND MEANING BUT TO INHABIT THESE TENSIONS.

In the bottom section, two brown-skinned hands are held up against a vertical rainbow-striped background. A thin, dark string is looped between the fingers of both hands. A realistic monarch butterfly rests on the string near the left hand, while stylized blue and yellow butterflies flutter around. A text box above the hands reads, FROM THE PERSPECTIVE OF COMICS CREATORS, AS WELL AS THAT OF READERS—WHERE WE ENGAGE WITH THE OFTEN DISJUNCTIVE BACK-AND-FORTH OF READING AND LOOKING FOR MEANING CHUTE, 2008, 452...

At the very bottom, a final line of text reads, ...ABSTRACTION SERVES BOTH AN AESTHETIC AND POLITICAL PURPOSE, CHALLENGING TRADITIONAL READABILITY AND ENCOURAGING ALTERNATIVE FORMS OF EXPRESSION AND ENGAGEMENT. AND THIS, TOO, IS PROTEST.