form follows behavior

Lisa Jevbratt, 1:1 Interface: Every(IP)

In his article “Visualization Criticism—The Missing Link between Information Visualization and Art”, Robert Kosara analyzes the gamut of data-based visualization between the two poles of pragmatic and artistic visualization. On pragmatic visualization techniques, he writes: “Pragmatic visualization techniques are also often general, and can be applied to many different data sets. This is considered a strength, because the user can gain experience with the method and apply that to different data, rather than having to start from scratch again.” The opposite is true for artistic visualization, which communicates a specific concern, using data as a proof that the concern is real. As opposed to pragmatic visualization, which aims for generalization, artistic visualization aims for specificity in the relationship between representation and subject matter.

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Branded communities are an emerging phenomenon. Certainly, the term “branded community” is increasing in popularity. Yet—and this should not come as a surprise—brand has always been an important factor in regard to communities, and not only new communities. In this context, brand is a platform for creating and communicating a sense of place; it is the stated or perceived identity of a community. Branded communities, in their attempt to formalize sense of place, are not only the latest chapter in the ongoing narrative of the ideal or utopian city; they are also the outcome of a changing relationship between identity and community.

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It is almost cliché these days to state that the database is the form of expression of our age. Many have written on this topic, from computer scientists to media theorists, from philosophers to artists. They have examined networks as the means for connecting and accessing related objects from databases, as well as protocol in the structure of the database as undermining the assumed autonomy of the object. In the art world, the separation between content and expression no longer seems controversial—along with protocol, it has become a topic of critique. Yet, despite the growing familiarity with the database, it is perhaps given too much credit as a form of expression. The largest misconception seems to be that the database supplants an author-driven narrative. It is often seen as anti-narrative, anti-hierarchical, when in fact the database itself has inherent narrative qualities.

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Google Maps recently launched its latest feature, a panoramic, street-level view of several major US cities. Despite not being the first of its kind, this is the most satisfying street-level simulation I have seen. In particular, what Google has brilliantly solved is the question of navigation and performance, once again demonstrating the importance of execution. Yet, beyond technical sophistication, my interest lies in the artifact created by this new type of visualization.

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In their paper Artistic Data Visualization: Beyond Visual Analytics, Fernanda B. Viégas and Martin Wattenberg claim that artistic data visualizations “…must be based on actual data, rather than the metaphors or surface appearance of visualization.” What they seem to be saying (though I will admit I may be reading too much into this statement) is that metaphor cannot apply to any ‘artistic’ visualization directly derived from data. While the article is well written and researched, I will try to explain why I fundamentally disagree with this premise. [Note: In writing this it appears I misinterpreted their statement: see comments below.]

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