Pub Date : 2020-10-01DOI: 10.1109/visap51628.2020.00001
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Pub Date : 2020-10-01DOI: 10.1109/VISAP51628.2020.00011
Lawton Hall
Leander is an experimental film that sonifies color data to generate its musical soundtrack. The colors of Lake Michigan, captured in time lapse video, constitute ever-changing probability vectors that govern the behavior of musical sound-events over time. This stochastic, or probabilistic approach to data sonification imagines the musical experience as movement through a virtual possibility space, rather than the end result of a causal process. This pictorial describes how color data guides the various musical parameters at play in Leander through weighted chance.
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Pub Date : 2020-10-01DOI: 10.1109/VISAP51628.2020.00009
Bridger Herman, F. Samsel, Annie Bares, Seth Johnson, G. Abram, Daniel F. Keefe
We, as a society, need artists to help us interpret and explain science, but what does an artist’s studio look like when today’s science is built upon the language of large, increasingly complex data? This paper presents a data visualization design interface that lifts the barriers for artists to engage with actively studied, 3D multivariate datasets. To accomplish this, the interface must weave together the need for creative artistic processes and the challenging constraints of real-time, data-driven 3D computer graphics. The result is an interface for a technical process, but technical in the way artistic printmaking is technical, not in the sense of computer scripting and programming. Using metaphor, computer graphics algorithms and shader program parameters are reimagined as tools in an artist’s printmaking studio. These artistic metaphors and language are merged with a puzzle-piece approach to visual programming and matching iconography. Finally, artists access the interface using a web browser, making it possible to design immersive multivariate data visualizations that can be displayed in VR and AR environments using familiar drawing tablets and touch screens. We report on insights from the interdisciplinary design of the interface and early feedback from artists.
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Pub Date : 2020-10-01DOI: 10.1109/visap51628.2020.00006
{"title":"VISAP 2020 Committees","authors":"","doi":"10.1109/visap51628.2020.00006","DOIUrl":"https://doi.org/10.1109/visap51628.2020.00006","url":null,"abstract":"","PeriodicalId":325118,"journal":{"name":"2020 IEEE VIS Arts Program (VISAP)","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121052938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1109/VISAP51628.2020.00008
Cathryn A. Ploehn, M. Steenson, Daragh Byrne
A good data visualization opens up space for good conversations. That is, a data visualization is a starting point in a discussion of a shared understanding of the world, a way for us to know together. Consequently, our practices as data visualization designers—through collecting data and portraying them visually—create (or reinforce) ways we can understand the world, and thus move through it—it’s ontological. Alarmingly, there is an emerging sense among new media artists and scholars that our practices of collecting and visualizing data can create rigid, harmful understandings of the world; ontologies of control. In particular, D’Ignazio and Klein argue in their book, Data Feminism, that our current practices of data science can lead to the “silencing, extraction, monetization, or invisibility” of people (or other living things) that the data represent [9]. In response to this violence, they assert that we need to make visible those who are creating the data, and those who are represented by the data. In other words, we need to “bring back the bodies.” This research interrogates how we might recenter the embodied, situated nature of data through the design of Tsuga Convictio, an experimental data collection process and a data visualization to support the conversations critical to our future—the reflective community conversations that help us belong to our human and ecological communities. By designing for these conversations, we discovered fluid, feminine, and embodied ways to create—and (re)enchant data visualizations. Along the way, we begin to answer some of the fundamental questions designers implicitly (and explicitly) answer when they make data visualizations. Most profoundly, we (re)imagine what visualizations can do—data visualizations are more than just tools of control; they are tools for imagination and transformation.
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Pub Date : 2020-10-01DOI: 10.1109/VISAP51628.2020.00010
Tommaso Elli, Uta Hinrichs, A. Bradley, Zachary Hills, C. Collins, K. Kelsky
With this pictorial we present the design process of “The Academia is Tied in Knots”, an interactive visualization based on sensitive and qualitative data, namely personal stories reported by people who have experienced sexual harassment in academia. We discuss how we approached the task of visualizing sensitive, uncomfortable, yet important topics in terms of data-mapping and visual representation, including the appropriateness of computational vs. manual approaches to help foreground relevant themes. We also describe the design process behind the visualization and we discuss it from a feminist data visualization perspective.
通过这幅图片，我们展示了“the Academia is Tied in Knots”的设计过程，这是一个基于敏感和定性数据的交互式可视化，即在学术界遭受性骚扰的人所报告的个人故事。我们讨论了如何在数据映射和视觉表示方面处理敏感、不舒服但重要的主题的可视化任务，包括计算方法与人工方法的适当性，以帮助前景相关主题。我们还描述了可视化背后的设计过程，并从女权主义数据可视化的角度进行了讨论。
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Pub Date : 2020-10-01DOI: 10.1109/VISAP51628.2020.00007
C. Qin, Marios Constantinides, L. Aiello, D. Quercia
Affective sharing within groups strengthens coordination and empathy, leads to better health outcomes, and increases productivity and performance. Existing tools for affective sharing face one main challenge: creating a representation of collective emotional states that is relatable and universally accessible. To overcome this challenge, we propose HeartBees, a bio-feedback system for visualizing collective emotional states, which maps a multi-dimensional emotion model into a metaphorical visualization of flocks of birds. Grounded on Affective Computing literature and physiological sensing, we mapped physiological indicators that could be obtained from wearable devices into a multi-dimensional emotion model, which, in turn, our HeartBees can make use of. We evaluated our nature-inspired interactive system with 353 online participants, whose responses showed good consensus in the way they subjectively perceived the visualizations. Last, we discuss practical applications of HeartBees.
{"title":"HeartBees: Visualizing Crowd Affects","authors":"C. Qin, Marios Constantinides, L. Aiello, D. Quercia","doi":"10.1109/VISAP51628.2020.00007","DOIUrl":"https://doi.org/10.1109/VISAP51628.2020.00007","url":null,"abstract":"Affective sharing within groups strengthens coordination and empathy, leads to better health outcomes, and increases productivity and performance. Existing tools for affective sharing face one main challenge: creating a representation of collective emotional states that is relatable and universally accessible. To overcome this challenge, we propose HeartBees, a bio-feedback system for visualizing collective emotional states, which maps a multi-dimensional emotion model into a metaphorical visualization of flocks of birds. Grounded on Affective Computing literature and physiological sensing, we mapped physiological indicators that could be obtained from wearable devices into a multi-dimensional emotion model, which, in turn, our HeartBees can make use of. We evaluated our nature-inspired interactive system with 353 online participants, whose responses showed good consensus in the way they subjectively perceived the visualizations. Last, we discuss practical applications of HeartBees.","PeriodicalId":325118,"journal":{"name":"2020 IEEE VIS Arts Program (VISAP)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123802100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1109/visap51628.2020.00005
The theme for VISAP’20 is Enchantment. We invited and received submissions that enchant in all of the different meanings of the word from its root (“to sing into”) to the myriad of meanings it has acquired since. To enchant is to stop the mind for a moment, in surprise and curiosity, and connect with the extraordinary in the everyday. Enchantment breaks expectations and speaks to old memories or ancient truths in a way that makes us look again and more deeply. Some have suggested that modernity has stripped the world of enchantment because of its bias towards explaining, deciphering, stating, and categorizing. Indeed, many visualizations are designed around these principles. With this theme we place emphasis on our capacity to wonder as the doorway to curiosity, research, and engagement, and on the notion that enchantment can be something that we aim for when creating visualizations. Data visualization is by its very nature striving to represent and translate one form of information into another to understand and influence. If the data itself is seen as objective, the visualization aims to preserve this quality while appealing to human senses which are prone to conditioned biases. Within this year’s theme of enchantment, we invite works in art and design which investigate how enchantment can be used to entice a first look and further create a sustained curiosity about what is being represented. How does one design for enchantment? Where does the intersection of objectivity and wonder lie? How has beauty been implicated in visualization, implicitly or explicitly? How will a new wave of visualizations incorporate the tension between the attention economy and the need to inform precisely and prompt action? Can one ever have too much art? What if the aim is not to precisely inform but to mirror an emotional state about the source of the data? How is success measured? While these themes are best explored, like many art exhibitions, through physical interaction with both the pieces and other audience members, our experience curating this year’s program has prompted us to discover enchantment through an alternate reality. During the COVID-19 pandemic, we have all been challenged to engage with others through shifting conditions and protocols, yet we maintain our fascination with the voices that offer their own stories in the search for meaning. We would like to thank the artists that persevered through challenging situations to complete their works, as well as those who spent their free hours reviewing and piecing the VISAP’20 program together.
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