data vs. design variation

I understand Tufte’s explanation on p.59 that the data is more clear in the second fuel economy chart, and his theory that data rather than design variation should be used first. However, I don’t know that all of the completely unrelated “data ink” decorating it makes it any worse than the first example. Couldn’t a gaudy graphic also perpetuate the perception that an information architect is a mere data decorator? I feel that when we design a poster, for example, that we may decide to make certain information more important than the other, as with a concert advertisement, listing the date, time, title, etc. in most noticeable type. But what if the concert date is already well-known among the music community and by those who can afford tickets, but the most desired information is now the music and composer performing? One might tailor a new poster exaggerating featured titles of the musical score, the conductor’s name, etc.  So perhaps the word “lie” is too strong to describe the first example of the Fuel Economy chart. The creator may have only been exaggerating the main point – that fuel economy has been increasing. And though at the chapter’s end he claims this is only supporting “lies” I still feel there is room for artistic liberty, especially when the quantitative data is clearly printed for reference.

“Unlike the advertisements at least we don’t put naked women in out graphics,” said Louis Silverman. Quite a comical stab at commercialism, and I would agree that even the most exaggerated of data graphics are more truthful than the majority of promises made in ads.

Space and Multifunctional Graphics…

Tufte’s study of data density relates to our initial studies of space and composition as design students. First attempts usually illustrate, even with prior training in typography, our natural inclination to “fill” any given space with unnecessary ink. An example of poor execution of graphic density can often be seen in newspaper ads. These evenly distributed displays of stretched text and mismatched graphics lack fine detail and clear organization, all in an attempt to profit by using up the maximum amount of space. Again, Tufte’s message is to use the least amount of ink to guide the viewer straight to the most important information.
It is interesting though when he remarks “Perhaps some day statistical graphics will perform as successfully as maps  in carrying information.” I would think that a graphic’s success cannot be measured entirely by it’s density, that even allowing for some ample resting space on the borders, for example, might enhance the overall display.
In his similar proposal of maximizing graphics with multifunctional graphical elements, Tufte refers to Leonard Ayre’s representation of French army in Germany during WWI.  What slowed my immediate comprehension of this piece was that I could not see the exact number of divisions let alone people within them, differing from, for example, Minard’s Russian campaign graphic. I think this reminds us that much forethought is required before we organize the data, keeping in mind that which is most important and perhaps sacrificing or rather saving other thoughts for another representation.  Whereas Minard’s goal is perhaps to show the humanity of war, Ayre’s graphic seems purely quantitative in nature. This example also reminds me of the importance of titling. In Ayre’s example, information titling such as “The Duration of 92 French Divisions in Germany in WWI” could easily better orient the viewer.

Most of the examples that illustrate Tufte’s principles of a successful information graphic are quite plain, and might not draw a general audience with their overall lack of aesthetic beauty. I think that’s where our training begins- with a bare, concise, clear graphic to be our primary goal, and it ends with the addition of a new element that sets it apart from all other written attempts to reach others with this data. This final arrangement is what can make the prints available at historyshots.com foster new interest in the time period they represent. As they addressed near the end of the Emergence conference this past weekend, Service Design has the potential to become an art form, once they establish a common language. Though I feel, too, that service design is but a responsible way to apply the already existing design process and skillset towards a higher goal whether that be a more efficient hospital or a less wasteful car company.

The logistics and categorizations of the sociosemantic web in Chapter 6 were particularly challenging for me to grasp. The multivariate folksonomy seems to me to be the next logical step given the ubiquitous nature of the internet where connections can be made to information by any number of people who find it.

Morville illustrates an example of the sociosemantic web via a common tagged article through which one can ultimately access and research the profile of those who read it. I don’t know that I always want be tagged, located, observed and recorded as data to be cataloged. For instance, though I like the discount grocery stores offer when I scan my card, maybe I don’t want them keeping track of all my purchases. I guess there is a careful balance between anonymity and outright exposure in the name of being a more “target-able” consumer, a predictable web browser, and overall findable person.

many eyes = boundary objects?

In chapter 6, Morville writes “The magic of the boundary object lies in its ability to build shared understanding across social categories.” Though surely many attendees have already blogged about this innovative resource since the Emergence conference, I must refer to the many-eyes.com website. If I understand correctly, these rapid, public visualizations become boundary objects themselves and a springboard for discussion for what they reveal. As speaker Fernanda Viegas pointed out, they not only teach or show, but provoke further discussion and analysis, taking information that is difficult to share and translate across disciplines and transforming it into, as Morville describes, a catalyst for conversation. In this way I feel it has the potential to be more powerful than sites such as YouTube where so-called viral videos may be viewed by millions, but to what end? They entertain and often lead nowhere else. So, information designers have an extraordinary opportunity to enlighten not only their client but as many interested parties as possible.

La puissance d’information…

Graphical and and narrative maps can be particularly powerful, making information that would otherwise not be retained by those other than professionals in the field of its subject matter not only retainable but interesting for a general audience. Graphic elements help give a collection of data hierarchy, emphasizing a main idea, message, or conclusion drawn from a body of research. Visual elements not only bring focus and aesthetics to a piece but link information to areas of the viewer’s life. For example, a map such as those shown in this chapter with concentrations of certain illnesses might be a tool of preventative health care, instigating lifestyle changes in those at risk or perhaps proving the need for funding of tools to stop the problem altogether. Despite all of the tools written language provides to add descriptive elements to text, data presents a unique problem in that it is by nature dry and because of the need to absord and understand it’s meaning quickly. Without resorting to a literal illustration that is unable to give accurate quantitative information, visual charts must connect with their viewer the same way a picture might, giving new life and humanity to dormant text. Telling us that the number of soldiers in the Russian campaign dwildled from 422,000 to 10,000 is not nearly as powerful as showing us how it happened in one single graphic.