For the data visualisation project I have researched different artists and designers and their work related to the subject.
Visual artist Katie Lewis has been mapping physical sensations using pins, thread and pencil. And with out a doubt also there is an intriguing idea and methodology to bring these sensations into a visual form.
Artist has said: ‘My current work traces experiences of the body through methodical systems of documentation, investigating chaos, control, accumulation and deterioration. The artificially rigid organization of my materials alludes to control– of the individual body as an institutional domain, and of irrational experience as a manageable, concrete set of events.
My choice to use the body as a starting point aims to give visual form to physical sensations that are invisible to the eye and medical imaging, and only exist in the subjective realm. I collect data through daily documentation processes, and then generate numerous systems to allow the information to exist in a material form. I abstract and quantify the data in order to give authority and agency to subjective experiences.’
‘The work alludes to the body in certain pieces, through the text or a particular material, but the reference remains abstracted. By abstracting and codifying the work, I want to evoke a sense of the passing of time, accumulation of information, presence and absence, chaos and order, control and loss of control and the possibility of the system collapsing upon itself or reaching a breaking point.’
‘Once I devise a system for a particular piece, I follow it all the way through the work allowing the visual results to exist outside of subjective expressive decisions. By strictly following and never veering from a given system, the work is tightly controlled and asserts itself as accurate and authoritative (however false and unscientific), questioning the gap between a subjective experience and medicine’s conventions for understanding the body.’
‘The work is often organized into grid-like charts and diagrams mimicking science and medicine’s representations of the body as a specimen, visually displayed for the purpose of gaining knowledge. In this way I create distance from the information and objectify the experience, giving a false sense that the body is accessible and easily understood.’
Tatiana Plakhova is a Moscow based designer and the art director at Moscollective design studio. Her art is deeply inspired by complex patterns found in fractals or biological organisms. Instead of using algorithms to generate the images, she creates everything manually. This also indicates that, although a lot of her works look like visualizations, none of them are based on real data.
David McCandless– London based independent data journalist and information designer has done some mind blowing work. He says: “A passion of mine is visualizing information – facts, data, ideas, subjects, issues, statistics, questions – all with the minimum of words.I’m interested in how designed information can help us understand the world, cut through BS and reveal the hidden connections, patterns and stories underneath. Or, failing that, it can just look cool!” And cool it is indeed.
Datavisualisation about Death Penalty: Since the United States reinstated the death penalty in 1976, 118 people on death row have been exonerated. These 118 people spent a combined 1,125 years in prison. GOOD and Open tally the years.
Digital visualization of flight pattern data over the United States.
Air Traffic over Britan
We feel fine is a data collection engine that automatically scours the Internet every ten minutes, harvesting human feelings from a large number of blogs. Blog data comes from a variety of online sources, including LiveJournal, MSN Spaces, MySpace, Blogger, Flickr, Technorati, Feedster, Ice Rocket, and Google.