Redesign of classic information visualization techniques in an artistic computing perspective

Abstract

Combining information visualization and art is a rather new research domain. Redström et al [2000] speak in terms of 'informative art' that they define as 'computer augmented, or amplified, works of art that are not only aesthetical objects but also information displays, in as much as they dynamically reflect information about their environment.' Holmquist and Skog [2003] restate it as follows: 'informative art is a type of computer applications which borrow their appearance from well-known artistic styles to visualize dynamically updated information'. Grønbæk et al. [2006] refers to 'making digital information displays aesthetic, calm, and pleasurable.' Beale [2007] explains that 'ambient art is the aesthetic presentation of information, using artistic techniques to achieve a pleasing image that also contains hidden depths, where exposure to it over time allows a viewer to understand something about the information sources that it represents'. Fishwick [2006] defines the 'aesthetic computing' concept as: 'the application of the theory and practice of art to the field of computing'. Fishwick then refines its proposal and distinguishes analysis and synthesis applications of aesthetic computing. The former aims to evaluate computing objects from an aesthetic perspective while the latter focuses on using aesthetics as a means of representation of the artefacts. We can also mention the Ambient Display concept defined by Wisneski et al. [1998] as a way to 'present information within a space through subtle changes in light, sound, and movement, which can be processed in the background of awareness'. Thinking on these definitions, we point out several interesting observations presented in the next section.