Without such a representational tool we cannot effectively communicate the most meaningful purpose for algorithms in design.
However, these varied approaches only describe the subject matter in an abstrated reality as a frame of reference. For example, a cartoon does not provide detail, a technical section does not show the elevation, a portrait does not show the reverse view, a three-dimensional model does not reveal movement, and an animation takes place only from a particular point of view. As observers, we are also unable to digest multiple representational techniques at the same time. This leads to architectural drawing sets that describe the whole through the composition of many isolated subsets of the subject matter.
While this strategy functions well for its intended purpose, it provides no solution when attempting to describe design logic prior to a final form. For example, how do we represent the design range of an algorithm that can product infinite variation between particular bounds? Describing the section view, or any other format, of such a design range would only appear as a fog of overlapping content due to the pluratlity of potential results. Yet showing only a single instance of the algorithm range is hardly representational of its potential.
This problem is compounded by the multi-faceted value of algorithms as they can simultaneously create orthographic views, three-dimensional models, etc. of a design with balanced energy systems, envelope layers, code limits according to the specific input variables. Drawing this would be the equivalent of showing the simultaneous progression of each cell in a fertilized egg as they replicate to reach their final destination in an adult body. Unfortuantely, without such a representational tool we cannot effectively communicate the most meaningful purpose for algorithms in design.