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2015 | OriginalPaper | Buchkapitel

2. Giving Shape to Data

verfasst von : David Bihanic

Erschienen in: New Challenges for Data Design

Verlag: Springer London

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Abstract

A key challenge for designers is to be able to present large amounts of data in very clear and simple ways. By this, it involves bypassing, if not eliminating entirely, sophisticated forms and convoluted graphics, as well as countless textual metadata (legends or notes). High-dimensional data space, requiring the use of advanced user tools to navigate inside, is also to avoid. What it boils down to is nothing other than data assimilated into straightforward and captivating forms. The aim is to design primitive or minimal shapes stripped down to their very essence for the purposes of delivering both a sensitive and meaningful experience of datasets—this kind of experience leads us to the fundamental principles of Gestalt perception. In this chapter, we shall attempt to prove that visual and graphic representation of “Big Data” needs to shift toward a new formalized approach using pure shapes to enhance the qualities of its aesthetic perception (and improve interaction with data representation and visualization)—note that the possibility to infer phenomena from data depends mainly on the aesthetic experience of the data itself. To do so, we will refer to some cutting-edge data design projects. It will also be an opportunity to introduce a new series of large-scale data representations currently underway, entitled Data Shapes, in which the simplicity of forms is addressed.

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Fußnoten
1
In reference to various contexts (situations, tasks).
 
2
E.g., treemap, touchgraph, and complex network graphs.
 
3
Home of the Distributed Cognition and Human–Computer Interaction Laboratory overseen by James D. Hollan and Edwin Hutchins.
 
4
Home of the Graphics, Visualization, and Usability [GVU] Center.
 
5
Home of the Laboratory for Information Visualization and Evaluation [InfoVis].
 
6
Creative process and artistic expression, as well as the enactment of shapes generated (designs, indications, illustrations, symbols, etc.) in a system-to-structure pattern.
 
7
In reference to the intersection of informational (semiotic), visual and graphic (aesthetic) and functional (technical) patterns.
 
8
In Ancient Greek, αἰσθητικός, aisthêtikós, meaning “who perceives through the senses, perceptible.”
 
9
Referring to components or interactive objects.
 
10
Whose data are stored in public and/or private clouds.
 
11
Referring here to poiesis (and not praxis), from Ancient Greek, ποίησις (poíêsis), meaning “doing, creating, bringing about, leading something into being”—Aristotelian distinction.
 
12
In reference to isolating and differentiating structural, and at times, complex “motives,” including trends, groups, “gaps”, and isolated areas.
 
13
Referring to a user’s “low-level” visual capacity taken largely into account today by numerous designers and engineers.
 
14
Periodic movement or lack thereof of data properties, increase in overall data volume, etc.
 
15
In reference to the numerous changes in data shape and format.
 
16
Process of building skills and knowledge.
 
17
From the space of the body caught in action toward exteroceptive sensitivity (not interoceptive or proprioceptive).
 
18
For example, in the case of interactions with touch screen or multitouch technology devices (Lenay 2010), this experience triggers sensations specific to the haptic realm.
 
19
In line with a selection of action and interaction modalities.
 
20
In contrast with the relative agnosia to which the lazy and absent-minded perceiver will fall victim.
 
21
To which inferences and deductions have recourse.
 
22
Here targeting a hermeneutic dimension between Phenomenology and Cognitive Science.
 
23
Formally ridding certain “critical mass” issues.
 
24
For example, “distribution”, referring to grapheme arrangement and association.
 
25
According to distributions by point, line or area.
 
26
In reference to the classification system defined by Bertin (1982, 2011).
 
27
This demand also requires that any formal irregularities seen as accidental be corrected.
 
28
Quoting the poet, Frédéric Mistral.
 
29
Specifically, in the case of generative or animated shapes.
 
30
Prior to any new knowledge being acquired.
 
31
Theologically speaking, wholeheartedly and with practically all one’s might.
 
32
Any attempt or effort to radicalize the formal language of data representation and visualization involves bettering the conditions of user-driven processing (both perception- and action-related): toward its design. There is not enough time to get into the details of what this entails. It should be noted that we are currently working on other articles (to be published soon) that prove it. The projects already referenced offer sufficiently convincing examples.
 
33
Favoring a wider variety and number of perceptive, interpretative, cognitive, emotional, intentional, and action-driven processing models.
 
34
A parallel development could help to specify how perception-targeted objects condition our approach and understanding of them. That said, not every object is a work of art (to put it bluntly). This does not mean that processing it (by the author) more formally is futile—on the contrary, for doing so would bestow upon this object truly aesthetic qualities that it is capable of ingesting thanks to the relatively similar processes of perception and cognition.
 
35
Based on aspect—and behavior-based variables.
 
36
Including accessibility and visualization.
 
37
Referring here to both info graphic projects and visual and graphic interface environments of “Big Data” representation and visualization resulting from conceptual, formal, and creative investigation.
 
38
In addition to the numerous flows and transactions present there within.
 
39
These ideas and concepts are examined more closely by authors such as Morin and Le Moigne (1999; Morin 1999), Koestler (2011), Berthoz (2009), and Eco (1989).
 
40
Transcription of graphemes from one written alphabet to other graphemes in another system: a manner of transposing one system of signs to another without loss of meaning.
 
41
Calibrating and comparing the quantities of colors within each national emblem (gallery of the world’s country flags).
 
42
The statistical data presented are based on The Human Development Index (HDI) and have been extracted from a report published in 2011 by the United Nations, entitled Sustainability and Equity: A Better Future for All.
 
43
Advertising campaign done for the British national daily newspaper, The Guardian.
 
44
Visual and graphic representations of data, interface-based or not.
 
45
All things considered, the reasons driving this project are not completely foreign to those of Listen Wikipedia created by Stephen LaPorte and Mahmoud Hashemi or Color Forecast developed by Pimkie.
 
46
Wiping out, once and for all, all outdated and obsolete shapes.
 
47
Inadvertently stressing how design’s contribution to data representation and visualization is proving, now more than ever, indispensable.
 
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Metadaten
Titel
Giving Shape to Data
verfasst von
David Bihanic
Copyright-Jahr
2015
Verlag
Springer London
DOI
https://doi.org/10.1007/978-1-4471-6596-5_2