Creative Data and Information Visualization: Reflections on Two Pedagogical Approaches

1. CreativeDataand InformationVisualization: Omar Sosa-Tzec (@omitzec) Penny W.School of Art and Design University of Michigan SIGDOC 2019:“Broadening the Boundaries of Communication Design” October 5,2019 Portland,OR Reflections on Two Pedagogical Approaches

2. Context

3. Context artdes 333: information design •BFA/BA in Art and Design •Minors and Majors in other Schools •Mostly Studio and Big Projects •Up to 20 students

4. CourseOrientation Data Information Design Graphic  Presentation Visual Information Multimodal Information

5. ProjectsonNon-ConventionalVisualizations 2017 Cohort 2018 Cohort Futuristic Interactive Visualizations Data Self-Portraits • I sought to give structure,a design framework,as a way to guarantee a good execution while providing a theoretical basis that sustains the work. • I decided to leverage the studio culture while promoting a more material and conceptual exploration as part of the making process.

6. Case1:  InteractiveFuturistic Visualizations

7. DesignFrameworkforInteractive EmbodiedVisualizations 2017 Cohort critical design-design fiction-speculative design design rhetoric interaction gestalt physical visualization + + •Rhetorical Situation •Low,Middle,and High Style •Logos,Ethos,and Pathos Ehses (2008) Lim et al.(2009) Moere & Patel (2009) •Connectivity •Continuity •Directness •Movement •Orderliness •Pace •Proximity •Resolution •Speed •State •Time-depth •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations

8. DesignFrameworkforInteractive EmbodiedVisualizations 2017 Cohort critical design-design fiction-speculative design design rhetoric interaction gestalt physical visualization + + •Rhetorical Situation •Low,Middle,and High Style •Logos,Ethos,and Pathos Ehses (2008) Lim et al.(2009) Moere & Patel (2009) •Connectivity •Continuity •Directness •Movement •Orderliness •Pace •Proximity •Resolution •Speed •State •Time-depth •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations •Definition of the situation •Definition of the artifact's goal •Definition of variables •Creation of the first concept •Refinement based the notion of logos,ethos,and pathos •Refinement based on the notion of level of style •Peer critiques (several times) •Refinement based on interaction gestalt attributes •Refinement based on physical visualization principles •Elaboration of a poster to present the design concept activities

9. DesignFrameworkforInteractive EmbodiedVisualizations 2017 Cohort critical design-design fiction-speculative design design rhetoric interaction gestalt physical visualization + + •Rhetorical Situation •Low,Middle,and High Style •Logos,Ethos,and Pathos Ehses (2008) Lim et al.(2009) Moere & Patel (2009) •Connectivity •Continuity •Directness •Movement •Orderliness •Pace •Proximity •Resolution •Speed •State •Time-depth •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations •Definition of the situation •Definition of the artifact's goal •Definition of variables •Creation of the first concept •Refinement based the notion of logos,ethos,and pathos •Refinement based on the notion of level of style •Peer critiques (several times) •Refinement based on interaction gestalt attributes •Refinement based on physical visualization principles •Elaboration of a poster to present the design concept activities Itdidn'twork! (As I expected)

10. TakeawaysCase1 •Be realistic • Too much theory will not make the students come up with better projects. • Theory can be difﬁcult to understand,especially,in short period of time. • Undergraduate students work differently than grad students. • Team work can go wrong. • The development of visual,critical,and systems thinking takes time and is progressive. • Students have different levels of design competence and skills. •Be pedagogical • Students need examples,visual information. • There is an end-of-term burn out effect to consider • Most senior students are accustomed to learning using the apprenticeship model.

11. StudentWork

12. StudentWork

13. StudentWork

14. Case2:  DataSelf-Portraits

15. DesignApproach artwork production (2d or 3d) physical visualization Moere & Patel (2009) •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations Just introduced for inspiration purposes visualization principles Tufte (1990) •Macro/micro readings •Layering •Small Multiples •Storytelling Introduced earlier in the semester + 2018 Cohort

16. DesignApproach artwork production (2d or 3d) physical visualization Moere & Patel (2009) •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations Just introduced for inspiration purposes visualization principles Tufte (1990) •Macro/micro readings •Layering •Small Multiples •Storytelling Introduced earlier in the semester + •Self-characterization: biological and as an individual,family,culture. •Self-characterization: personal history: past,present,future. •Identification of quantitative and qualitative variables. •Deconstruction of such variables to find new representational forms. •Synthesis of data and definition of macro and micro readings. •Sketching. •Design critiques. •Material explorations. activities

17. DesignApproach artwork production (2d or 3d) physical visualization Moere & Patel (2009) •Representational Fidelity •Data-mapping Metaphor •Symbolic Representations Just introduced for inspiration purposes visualization principles Tufte (1990) •Macro/micro readings •Layering •Small Multiples •Storytelling Introduced earlier in the semester + •Self-characterization: biological and as an individual,family,culture. •Self-characterization: personal history: past,present,future. •Identification of quantitative and qualitative variables. •Deconstruction of such variables to find new representational forms. •Synthesis of data and definition of macro and micro readings. •Sketching. •Material explorations. activities Itpartiallyworked! (As I expected)

18. TakeawaysCase2 • Without a uniform evaluation instrument is difﬁcult to know how well students have learned theoretical concepts. • Apprenticeship works to instruct theoretical concepts,but it can be exhausting for the instructor because of the need of reiterating. • Art production and studio-based instruction are useful to develop visual, critical,and reflective thinking for information design and visualization.

19. StudentWork

20. StudentWork

21. StudentWork

22. Implicationsfor InformationDesign Pedagogy

23. 1. A non-computational,non-scientiﬁc,craft-oriented,studio- based learning experience is useful for the development of exploratory forms to depict data and information. 2. A better understanding of non-visual materials is signiﬁcant to ideate innovative forms to convey data and information. 3. However,the role of visual thinking and making as the core of communication and information design must not be forgotten.

24. Thanks! Questions?

Creative Data and Information Visualization: Reflections on Two Pedagogical Approaches

Creative Data and Information Visualization: Reflections on Two Pedagogical Approaches

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