scholarly journals Ars Memorativa as the Genesis of Information Design: A Conversation with Manuel Lima

2021 ◽  
Author(s):  
Dario Rodighiero ◽  
Manuel Lopes-Lima
Keyword(s):  
Data Visualization ◽  
Visual Complexity ◽  
Information Design ◽  
Point Of View ◽  
Digital Archives ◽  
Mnemonic Technique ◽  
Digital Objects

Manuel Lima is one of the most prominent figures of data visualization since the publication of Visual Complexity (Lima 2011). In this conversation, Manuel Lima traces back the origin of data visualization to Ars Memorativa, an ancient mnemonic technique to organize information and facilitate its recall. Going back to the origins is an obsession that brought him to collect and arrange into books images of information design from both physical and digital archives. By doing this, Manuel Lima tackled issues related to digital objects and their creation, use, and preservation, with a point of view capable of combining the passion for visualizing information and the profession of UX designer.

scholarly journals Metáforas e gráficos pictórico-esquemáticos de Nigel Holmes | Nigel Holme’s metaphors and pictorial-schematic charts

2019 ◽  
Vol 16 (3) ◽  
pp. 330-348
Author(s):  
Ricardo Oliveira da Cunha Lima
Keyword(s):  
Data Visualization ◽  
Cognitive Linguistics ◽  
Numerical Data ◽  
Information Design ◽  
Point Of View ◽  
Figures Of Speech ◽  
Visual Elements ◽  
Visual Metaphors ◽  
Graphic Language ◽  
Data Visualizations

Neste artigo, abordaremos metáforas visuais utilizadas na visualização de dados da infografia do célebre designer Nigel Holmes. Isto foi feito mediante o diálogo com a linguística cognitiva e a retórica visual, pela ótica da teoria de design da informação. Para tanto, nossa abordagem é embasada na teoria das metáforas cognitivas, marcadas pelos estudos de Lakoff e Johnson (1980), e a tradição de estudos de figuras de linguagem visual. Nesta análise utilizamos uma taxonomia de figuras de linguagem pictóricas utilizadas em gráficos estatísticos (LIMA, 2018). Ao analisarmos as metáforas pictóricas utilizadas por Holmes, observamos que este designer tem a tendência a sobrepor elementos pictóricos a elementos esquemáticos em seus gráficos estatísticos. Nós cunhamos esta mescla de modalidades gráficas de gráficos pictórico-esquemáticos. Este uso de elementos pictóricos, muitas vezes, humorísticos sobrepostos a dados numéricos precisos foi duramente combatida por teóricos do design da informação como Edward Tufte, na década de 1980. Estes elementos pictóricos foram chamados de chartjunk. Este termo tem servido como uma crítica à elementos visuais consideradas supérfluos em nome de uma abordagem mais neutra na infografia e visualização de dados. No entanto, procuramos entender a escolha do uso de metáforas visuais por Holmes como uma abordagem que não se limita a uma suposta neutralidade de linguagem gráfica.*****In this article, the focus is on visual metaphors used in Nigel Holmes’ data visualizations present in his infographics. This analysis was accomplished by approaching the theory of cognitive linguistics and visual rhetoric from the point of view of information design. Our study is based on the theory of cognitive metaphors, notably the work of Lakoff and Johnson (1980), and the study of figures of speech in visual language. In this analysis, we used a taxonomy of figures of speech for pictorial language in data visualization (LIMA, 2018). When analyzing the pictorial metaphors used by Holmes, we observe that this designer tends to overlap pictorial elements on schematic ones in his statistical charts. We coined this mix of graphic modalities: pictorial-schematic charts (gráficos pictórico-esquemáticos). This use of pictorial elements, often humorous, overlapping precise numerical data was harshly opposed by information design theorists such as Edward Tufte in the 1980s. These pictorial elements were called chartjunk. This term has served as a criticism of visual elements considered superfluous in the name of a more neutral approach to infographics and data visualization. However, we seek to understand Holmes' choice of using visual metaphors as an approach that is not limited to a supposedly neutral graphic language.

scholarly journals The significance of typography in data visualization

2021 ◽  
Vol 11 (1) ◽  
pp. 12-23
Author(s):  
Halime Turkkan
Keyword(s):  
Big Data ◽  
Data Visualization ◽  
Graphic Design ◽  
Design Space ◽  
Critical Issue ◽  
Information Design ◽  
The Other ◽  
Essential Information ◽  
Digital World ◽  
Design Systems

With the development of technology and the dominance of the digital world, typography has become a critical issue. Information design systems are considered as one of the significant areas of graphic design and big data provides essential information on data visualization. This research aims to analyse the effects of typographic elements on visualizing data in terms of visual communication, by discussing the value that typography gives to design space. The research discusses randomly selected 10 infographic design samples published in the last six months on google. From the results, 5 designs with typographic concern were more favourable and visually more striking and preferable than the other 5 designs in terms of design disciplines. As in all areas of graphic design, it is argued that the power of typography is an indisputable concept in data visualization, which is seen as a sub-branch of information design. Keywords: data visualization; design; typography, significance, technology

What’s Past is Prologue

2014 ◽  
pp. 244-265
Author(s):  
Shu-Jiun Chen
Keyword(s):  
Research And Development ◽  
Digital Humanities ◽  
Open Data ◽  
Government Agencies ◽  
Digital Archives ◽  
National Program ◽  
Comprehensive Review ◽  
Digital Infrastructure ◽  
Digital Contents ◽  
Digital Objects

This chapter gives a comprehensive review of Taiwan’s Digital Archives Program, built on a national scale over the past 15 years. Currently more than 100 libraries, archives, museums, academic institutions, and government agencies are involved, and the program has created more than 5 million digital objects as well as more than 700 databases and Websites. This chapter investigates the goals and strategies of the program, probing into research and development, important achievements, values, lessons, and challenges in 6 aspects, including digital contents, digital technology, metadata interoperability, applications, industrialization development, and international cooperation. Although this national program was officially terminated at the end of 2012, the accumulation of digital contents, core technologies, and digital infrastructure over its lifespan makes it certain that one can look forward to its continuing impact upon open data, digital humanities, and sustainable digital archives.

scholarly journals Aesthetics and Clarity in Information Visualization: The Designer’s Perspective

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 72
Author(s):  
Annemarie Quispel ◽  
Alfons Maes ◽  
Joost Schilperoord
Keyword(s):  
Mass Media ◽  
Data Visualization ◽  
Information Visualization ◽  
Information Design ◽  
Future Research ◽  
Good Design ◽  
The Public ◽  
Objective Information ◽  
Data Visualizations ◽  
Important Design

Designers are increasingly involved in creating ‘popular’ data visualizations in mass media. Scientists in the field of information visualization propose collaborations between designers and scientists in popular data visualization. They assume that designers put more emphasis on aesthetics than on clarity in their representation of data, and that they aim to convey subjective, rather than objective, information. We investigated designers’ criteria for good design for a broad audience by interviewing professional designers and by reviewing information design handbooks. Additionally, we investigated what might make a visualization aesthetically pleasing (attractive) in the view of the designers. Results show that, according to the information designers, clarity and aesthetics are the main criteria, with clarity being the most important. They aim to objectively inform the public, rather than conveying personal opinions. Furthermore, although aesthetics is considered important, design literature hardly addresses the characteristics of aesthetics, and designers find it hard to define what makes a visualization attractive. The few statements found point at interesting directions for future research.

scholarly journals Atmospheric Data Visualization in Mixed Reality

2017 ◽  
Vol 98 (8) ◽  
pp. 1585-1592 ◽  
Author(s):  
Nihanth W. Cherukuru ◽  
Ronald Calhoun ◽  
Tim Scheitlin ◽  
Matt Rehme ◽  
Raghu Raj Prasanna Kumar
Keyword(s):  
Data Visualization ◽  
Mixed Reality ◽  
Auxiliary Information ◽  
Human Perception ◽  
Science Data ◽  
3D Space ◽  
Real Objects ◽  
Digital Objects ◽  
Atmospheric Phenomena ◽  
Visualization Application

Abstract Mixed reality taps into intuitive human perception by merging computer-generated views of digital objects (or flow fields) with natural views. Digital objects can be positioned in 3D space and can mimic real objects in the sense that walking around the object produces smoothly changing views toward the other side. Only recently have advances in gaming graphics advanced to the point that views of moving 3D digital objects can be calculated in real time and displayed together with digital video streams. Auxiliary information can be positioned and timed to give the viewer a deeper understanding of a scene; for example, a pilot landing an aircraft might “see” zones of shear or decaying vortices from previous heavy aircraft. A rotating digital globe might be displayed on a table top to demonstrate the evolution of El Niño. In this article, the authors explore a novel mixed reality data visualization application for atmospheric science data, present the methodology using game development platforms, and demonstrate a few applications to help users quickly and intuitively understand evolving atmospheric phenomena.

scholarly journals Studiing Modern Archival Science in Croatia

Atlanti ◽  
2017 ◽  
Vol 27 (2) ◽  
pp. 87-95
Author(s):  
Željka Dmitrus
Keyword(s):  
Data Security ◽  
Point Of View ◽  
Digital Content ◽  
Archival Science ◽  
Digital Archives ◽  
Archival Material ◽  
The Past ◽  
Long Run ◽  
The Future ◽  
The Moment

By definition, archival science is a set of knowledge about archival material and archival activity. Archival scienceis a young science because it has been developing for the past hundred years. More recently, theory, practice and methodology have been formed. When we talk about archival material, we need to know that it’s not just a pile of old paper preserved in the dark archive storage rooms. Archival material is a record in continuity - from the moment it is created, until the moment someone searches for that record. Today it is a common belive that archives are the memory of society and a part of cultural heritage. Today, documents are mostly generated in electronic form. From a practical point of view, modern archival science deals with answers to contemporary issues such as: How to organize digitalisation of archival material? How to keep digital content in the long run? How to organize digital archives? How to care for data security? These are just some questions that will have to be answered by the generations that come - young archivists. To be able to protect contemporary archives for the future we will have to find abwers to above questions, than only by protecting the present we will be able to preserve it for the future.

scholarly journals Sustaining Engineering Informatics: Toward Methods and Metrics for Digital Curation

2008 ◽  
Vol 3 (2) ◽  
pp. 59-73 ◽  
Author(s):  
Josh Lubell ◽  
Sudarsan Rachuri ◽  
Mahesh Mani ◽  
Eswaran Subrahmanian
Keyword(s):  
Functional Model ◽  
Point Of View ◽  
Digital Curation ◽  
Open Archival Information System ◽  
User Access ◽  
Digital Objects ◽  
Definition Of ◽  
Design And Manufacture

Ensuring the long-term usability of engineering informatics (EI) artifacts is a challenge, particularly for products with longer lifecycles than the computing hardware and software used for their design and manufacture. Addressing this challenge requires characterizing the nature of EI, defining metrics for EI sustainability, and developing methods for long-term EI curation. In this paper we highlight various issues related to long-term archival of EI and describe the work towards methods and metrics for sustaining EI. We propose an approach to enhance the Open Archival Information System (OAIS) functional model to incorporate EI sustainability criteria, Digital Object Prototypes (DOPs), and end user access requirements. We discuss the end user’s requirements from the point of view of reference, reuse and rationale – the “3Rs” – to better understand the level of granularity and abstractions required in the definition of engineering digital objects. Finally we present a proposed case study and experiment.

Information design in nautical charts

2016 ◽  
Vol 22 (2) ◽  
pp. 82-91
Author(s):  
Thomas Porathe
Keyword(s):  
Shallow Water ◽  
Deep Water ◽  
Information Design ◽  
Point Of View ◽  
The Future ◽  
Eu Project ◽  
The Eu

Conspicuous grey shading or blue colours are traditionally used in printed nautical charts to represent shallow water. The problem is that what is “deep” water for one size of ship might not be so for another size. To understand the extent of navigable water the bridge crew has to make a number of relatively complicated mental calculations. This paper suggests an automatic way of displaying NoGo areas that will give the bridge officer an at-a-glance knowledge of his ship’s manoeuvrable space, present and along the future route. A prototype has been developed and was tested with professional mariners in the EU project ACCSEAS. The system was rated as good and acceptable from a professional point of view although further improvements are necessary.

Uncertain infographics: Expressing doubt in data visualization

Semiotica ◽  
2019 ◽  
Vol 2019 (230) ◽  
pp. 143-166 ◽  
Author(s):  
Valeria Burgio
Keyword(s):  
Data Visualization ◽  
Quantitative Research ◽  
Information Design ◽  
Moral Imperative ◽  
Exact Data ◽  
Visual Expression ◽  
Expression Of Uncertainty

AbstractThe myth of transparency and truthfulness is the foundation for contemporary theories of information design. Avoiding distortion and ambiguity is the moral imperative of an upstanding data visualizer. Sometimes, though, data that is collected is not accurate enough and the sources use indirect indicators to approach a phenomenon: what to do then, if the need to graphically represent a phenomenon is urgent and necessary? Should the designer wait to have the exact data, or should he indicate a trend, expressing the hypothetical status of his statement? Can data visualization be designed to express doubt rather than to inform about facts?This essay will deal with the forms of expression of uncertainty in infographics. It will consider the designer as both an observer and a translator, whose position of neutrality is only one of the possible realms of discourse. In general, it will focus on the forms of visual expression of a self-criticizing mood in quantitative research today and it will explore the ways in which data that is not meaningful in statistical terms can become meaningful in semiotic terms.

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