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Creative Representation of Invisible Data

Creative Representation of Invisible Data

Introductory presentation of "Adventures in Data Visualization" workshop:

http://goo.gl/LCSH2g

Fabio Franchino

May 08, 2014
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  1. Creative representation of invisible data "Discover: to obtain knowledge or

    sight of what was not known." Fabio Franchino - todo.to.it - May 2014 - [email protected]
  2. Data Visualization: visual representation of abstract information that exploits our

    visual perception abilities in order to amplify cognition
  3. How to create patterns from raw data? The act of

    mapping information to visual elements.
  4. Discover: In 1973, Anscombe's quartet dataset. Nearly identical simple statistical

    properties, yet appear very different when graphed. http://en.wikipedia.org/wiki/Anscombe's_quartet
  5. We need a Language to explain the world, tell stories,

    point specific facts and objects, elaborate ambiguous messages, defend arguments, attack arguments and carry ideas and ideologies
  6. 1 2 3 4 5 6 7 8 16 17

    18 19 20 21 22 23 31 32 33 34 35 36 37 38 75, 37 multiple ways to communicate two quantities 75 37 37 75 0 37 75 0 37 75 a a a a b b b c a b a b a b a b a b c b c 75, 37 a b c
  7. In charts, junk elements are those elements that can be

    removed without modify the meaning of the intention of the graph. "Every single pixel should testify directly to content" – Edward Tufte
  8. William Playfair | Turkish Empire (1789) Inventor of Pie chart

    From his Statistical Breviary Proportion of Turkish Empire
  9. William Playfair | Exports and Imports of Denmark and Norway

    (1786) Revenues and Debts of England commerce
  10. The science used visualization as a tool for understanding data.

    ! Now the same paradigms belong also to the design culture
  11. Artists and Designers have started to work with data as

    raw material ! They use the Data Visualization paradigm to evoke particular emotions.
  12. Is innovative The possibilities for innovation are not, by any

    means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.
  13. Is useful A product is bought to be used. It

    has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasizes the usefulness of a product whilst disregarding anything that could possibly detract from it.
  14. Is aesthetic The aesthetic quality of a product is integral

    to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.
  15. Is understandable It clarifies the product’s structure. Better still, it

    can make the product clearly express its function by making use of the user's intuition. At best, it is self-explanatory.
  16. Is unobtrusive Products fulfilling a purpose are like tools. They

    are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user's self- expression.
  17. Is long-lasting It avoids being fashionable and therefore never appears

    antiquated. Unlike fashionable design, it lasts many years – even in today's throwaway society.
  18. Is complete (to the last detail) Nothing must be arbitrary

    or left to chance. Care and accuracy in the design process show respect towards the consumer.
  19. Is as little design as possible Less, but better –

    because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.
  20. Is honest It does not make a product more innovative,

    powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept. “Making an evidence presentation is a moral act as well as an intellectual activity” Edward Tufte
  21. FOX

  22. The greatest value of a picture is when it forces

    us to notice what we never expected to see. —John Tukey
  23. The AOL case RELEASED SEARCH DATA FOR ROUGHLY 658,000 ANONYMIZED

    USERS OVER A THREE MONTH PERIOD FROM MARCH TO MAY
  24. how to kill your wife how to kill your wife

    wife killer how to kill a wife poop dead people pictures of dead people killed people dead pictures dead pictures dead pictures murder photo steak and cheese photo of death photo of death death dead people photos photo of dead people www.murderdpeople.com decapatated photos decapatated photos car crashes3 car crashes3 car crash photo The AOL case The User 17556639 search history
  25. The geography of Tweets | All geo-tagged Tweets since 2009

    http://www.flickr.com/photos/twitteroffice/sets/72157633647745984/
  26. NYTimes - Usain Bolt vs. 116 years of Olympic sprinters

    http://www.nytimes.com/interactive/2012/08/05/sports/olympics/the-100-meter-dash-one-race-every-medalist-ever.html
  27. The Process 1. ACQUIRE THE DATA 2. CONVERSION & CLEANING

    3. VISUALIZE QUICKLY 4. FIND FACTS, ASK QUESTIONS 5. ITERATE 6. SKETCH VISUAL MODEL 7. DESIGN TONE OF VOICE, LOOK AND FEEL 8. ADD LAYERS (ANIMATION, TRANSITION, INTERACTIVITY)
  28. Sum Up Know your data Know your data Know your

    data (no, it’s not a typo) Explore your data visually Think about your target audience Determine the message Let users to explore Let users to learn something Draw attention to relevant data Avoid junk elements Use narration when possible Provoke emotions is a good thing Cite your sources