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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Josh On, They Rule

All visualization begins with a hypothesis. As previously determined, visualization is an expressive medium, and as such aims to communicate abstract ideas through the use of data. Any successful visualization, therefore, allows drawing conclusions about the underlying data. These conclusions, while often revealing or surprising even for the author of the piece, are nonetheless driven by a particular hypothesis—a hypothesis as general as simply selecting a type or range of data for its perceived interest- or insight-generating qualities, or as specific as setting out to prove a certain claim based on the characteristics of the data source.

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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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