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Creative Data and Information Visualization: Reflections on Two Pedagogical Approaches
The document discusses pedagogical approaches in information design at the University of Michigan, focusing on two case studies involving interactive visualizations and data self-portraits. It highlights challenges such as the balance between theory and practice, the varying competencies of students, and the necessity for visual and critical thinking in design. The implications suggest that a craft-oriented, studio-based learning experience can be beneficial for exploring data representation, while also emphasizing the importance of visual thinking in communication design.
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Creative Data and Information Visualization: Reflections on Two Pedagogical Approaches
- 1. CreativeDataand InformationVisualization: Omar Sosa-Tzec (@omitzec) PennyW.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
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- 3. Context artdes 333: informationdesign •BFA/BA in Art and Design •Minors and Majors in other Schools •Mostly Studio and Big Projects •Up to 20 students
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- 5. ProjectsonNon-ConventionalVisualizations 2017 Cohort 2018Cohort 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.
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- 7. DesignFrameworkforInteractive EmbodiedVisualizations 2017 Cohort critical design-designfiction-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-designfiction-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-designfiction-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 • Toomuch 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.
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- 15. DesignApproach artwork production (2dor 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 (2dor 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 (2dor 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 auniform 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.
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- 23. 1. A non-computational,non-scientific,craft-oriented,studio- basedlearning 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.
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