Abstract
Information visualization has become a prevailing part of our visual culture, a research field, and a line of work for designers. The literature on information visualization is diverse, dominated by handbooks aimed at designers and illustrated surveys, sometimes with an emphasis on historical examples. This chapter makes a survey of the field of information visualization in order to map out and assess its analytical vocabulary. First, there is a need to refer to some different definitions and general concepts, such as the naming of phases in the visualization process, the naming of different visualization types, and their components. In order for scholars of human sciences to be able to identify, understand, and interpret information visualization as visual objects, some tools for suitable visual analysis of these objects would be useful. To meet this end, the chapter explores two particular interpretative frameworks. The first framework discusses social semiotics as an analytical tool. The second one analyzes the ethics and emotional appeal of information visualization.
Highlights
Information visualization has become a persistent part of the visual culture of the first decades of the 21st century
These, have different purposes, many with the objective of educating designers. They may be found usable for other ends. After this brief literary overview, focusing on terminology, I exemplify how information visualization can be interpreted as visual objects of study with two different frameworks: one based on semiotics and the other directed at the emotions and ethics of information visualization
This chapter was first an attempt to map out some parts of the scholarly fields and literature on information visualization in order to illuminate some of its tools and terminology to scholars outside of those fields
Summary
Information visualization has become a persistent part of the visual culture of the first decades of the 21st century. Visualizations of many different kinds are being used as tools in the humanities and the social sciences; these methods are not the focus of this chapter.. What is at stake here is to be able to read charts and graphs critically and to make information visualization more transparent as of Time (New York: Princeton Architectural Press, 2010); Stephen Boyd Davis, “Beholder of All Ages: The History of the World in a French Mappemonde,” Textimage: Revue d’étude du dialogue text-image 7 (July 2015): 1–6; Johanna Drucker, Graphesis: Visual Forms of Knowledge Production (Cambridge, MA: Harvard University Press, 2014); Sandra Rendgen, Minard System: The Complete Statistical Graphics of CharlesJoseph Minard (Cologne: Taschen, 2018). After this brief literary overview, focusing on terminology, I exemplify how information visualization can be interpreted as visual objects of study with two different frameworks: one based on semiotics and the other directed at the emotions and ethics of information visualization
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