form follows behavior

Mapping seems to float between two poles—symbolism and realism, or abstraction and dimensionality—as the attempt is made to either (with increasing accuracy) simulate a landscape or environment, or interpret it as a sign or composite of signs. At first glance, the former could be considered the predominant direction—technology leading the way in the gradual displacement of the latter. However, not only are both vectors alive and well: realism has been an ongoing pursuit in mapping as long as symbolism, and symbolism is equally seeing a new resurgence due to technological developments.

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The relationship between mapping and data visualization is somewhat ambiguous and generally ill-defined. In most cases, the two concepts are inextricably linked, and the terms mapping and visualizing are often used interchangeably. Yet, after some reflection it seems apparent that the two concepts are indeed distinct, that there are differences, and defining both in relation to each-other seems somehow imperative to understanding the territory.

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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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In the past few months, I’ve come across a variety of work dealing, in one way or another, with compression of time as a method for visualization. Despite the wide range of work, there are particular generalizable attributes which I will identify.

The first few examples are time lapse renderings, in which the view remains fixed as all information gathered over a period of time is displayed simultaneously.

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