Data visualization as creative art practice

Abstract

This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article provides a review of recent digital art projects involving big data and suggests further directions for creative practice in an era of data proliferation.

Balloons to talk about

“…The case study art installation presented in this paper attempts to present data collected from its location as a conversational starting point. Whereas conventional information visualization emphasizes the effective understanding of data, in our study visualization serves as enhancement of data, which supposedly supports the acquisition of knowledge (Li, 2018). Data can be seen as evidence, which, in an ideal case, offers a basis for urban development (Davoudi, 2006).…”

“…Data is one medium, but the experience itself is another. Through visualisation, information becomes more understandable (Li, 2018) and the social context offers new dimension of knowledge. Differing from the in-situ experience, the contemporary conversations are multi-located, glocal, which further justifies a disruption in the flow of urban space through the installation.…”

Public data art’s potential for digital placemaking

“…The modern practice of data visualization stems from the graphical representation of quantitative data, which Descartes had already introduced in the 17 th century with the graphical representation of functions. However, Tufte refers to systems of representations that do not reflect the digital age context (Li, 2018;Manovich, 2002). The use of computers allows to visualize a larger set of data as well as dynamic and navigable displays through different types of representation of a phenomenon (Corby, 2008;Manovich, 2002).…”

“…In contrast, aesthetic information visualizations are more concerned with presenting a subjective impression of a data set by eliciting a visceral or emotive response from the user (Ramirez Gaviria, 2008: 479). This kind of visualization is seen as an aesthetic practice (Bihanic, 2018;Evers & Nack, 2016;Freeman, Starks, & Sandler, 2018;Li, 2018) because "the process of visualization involves translation of data into visual, symbolic form or pictures" (Corby, 2008, p. 462). Accuracy is therefore not required; it raises questions rather than answering them or, to quote Kosara (2007), to "communicate a concern, rather than to show data" (p. 634).…”

Using Kaleidographic to visualize multimodal relations within and across texts

“…Many different terms have been used to define static and interactive visualizations. Engebretsen and Weber (2018: 278–280) offer a detailed discussion of naming practices and Card et al (1999), Manovich (2011) and Li (2018) report on various types of information visualization, direct visualization and visualizations as works of data art . Following the definition of Anthony (2018), Kaleidographic can be considered to be a data visualization tool, where data visualization refers to ‘an automatically generated visual representation of real or simulated non-visual data that communicates information about that underlying data in a readable and recognizable way’ (Anthony, 2018: 198).…”