Non-linear Storytelling: Towards New Methods and Aesthetics for Data NarrativeGiorgia Lupi
presented at Strata Conference, NY, October 29 2013 /
How can a data-driven visualization tell multiple interplaying stories, and achieve a viable result in an abstract visual composition?
I will share the work I am doing with my information design company (accurat.it) on analysing and visualising complex cultural, social and economical phenomena and focusing on a project for La Lettura, the cultural supplement of the Italian newspaper Corriere della Sera (full gallery here http://www.flickr.com/photos/accurat/sets/72157632185046466/)
Purposely, the aim here is to compose and deliver non-linear and multi-layered visual narratives able to maintain the informative richness of the data but still making this richness more accessible and understandable, publishing compound and complex stories told through data visualizations.
I will describe how we can imagine to open new perspectives in the field and how we can also aim at educating readers’ eyes to get familiar with new visual ways to convey the richness of information that we experience in our everyday lives rather than simplifications of the phenomena analysed.
The speech will outline the design process from the very first ideas to the final results in different cases, presenting backstage materials such as sketches and intermediate versions and showing how we select, analyse and combine different data-sets. It will conclude by tracing some red threads to discover possible new approaches to the aesthetics of data-visualization: focusing on how to get inspired from many different disciplines, how to build a personal method and set individual goals, and explaining why we hope our aesthetic and analytic choices can generate new possibilities for ongoing creativity and research in the data-visualisation field
The idea here is to open possible questions rather then providing finite and definitive answers: to ask ourselves how far can we go rather than delimiting the domain.
the works of leonya tsoy 2004-2016. graphics, performance art, street art interventions, etc.
the presentation shows both personal works and group activity as a part of {rodina} and 'bobo' art groups.
Non-linear Storytelling: Towards New Methods and Aesthetics for Data NarrativeGiorgia Lupi
presented at Strata Conference, NY, October 29 2013 /
How can a data-driven visualization tell multiple interplaying stories, and achieve a viable result in an abstract visual composition?
I will share the work I am doing with my information design company (accurat.it) on analysing and visualising complex cultural, social and economical phenomena and focusing on a project for La Lettura, the cultural supplement of the Italian newspaper Corriere della Sera (full gallery here http://www.flickr.com/photos/accurat/sets/72157632185046466/)
Purposely, the aim here is to compose and deliver non-linear and multi-layered visual narratives able to maintain the informative richness of the data but still making this richness more accessible and understandable, publishing compound and complex stories told through data visualizations.
I will describe how we can imagine to open new perspectives in the field and how we can also aim at educating readers’ eyes to get familiar with new visual ways to convey the richness of information that we experience in our everyday lives rather than simplifications of the phenomena analysed.
The speech will outline the design process from the very first ideas to the final results in different cases, presenting backstage materials such as sketches and intermediate versions and showing how we select, analyse and combine different data-sets. It will conclude by tracing some red threads to discover possible new approaches to the aesthetics of data-visualization: focusing on how to get inspired from many different disciplines, how to build a personal method and set individual goals, and explaining why we hope our aesthetic and analytic choices can generate new possibilities for ongoing creativity and research in the data-visualisation field
The idea here is to open possible questions rather then providing finite and definitive answers: to ask ourselves how far can we go rather than delimiting the domain.
the works of leonya tsoy 2004-2016. graphics, performance art, street art interventions, etc.
the presentation shows both personal works and group activity as a part of {rodina} and 'bobo' art groups.
The Legacy of a Humanistic Tradition in Roberto Rossellini’s Films and Research Work. Pictures taken from the art book-catalogue presented at the exhibition shown at the Museo di Roma in Trastevere (Rome, IT), 10 February – 1 April 2007.
The exhibition marked the final celebrations for Roberto Rossellini’s centenary, and underlined some of the lesser known aspects of the Italian film director’s research work and filmography.
The exhibition was structured in multiple sections. One of these showed a selection of pictures shot by Italian movie stills photographer Gianni Assenza.
This presentation is the revised English version of a previous one, prepared by the same author for CRDAV on July 12, 2010.
Project and Layout by Alessandro Califano,
Senior Curator at CRDAV - 27 September 2010.
PLANETForestsa hot dealfor a cooler worldCONNEXIONS.docxmattjtoni51554
PLANET
Forests:
a hot deal
for a cooler world
CONNEXIONS
International radio
makes
new waves
IN T ERV IEW
Wangari Muta
Maathai, Kenya’s
green militant
PEOPLE AND PLACES
Circus
flashbacks
Me m o ry :
making peace
with a violent pas t
December 1999
52nd year
Published monthly in 27 languages and in Braille
by the United Nations Educational, Scientific and
Cultural Organization.
31, rue François Bonvin, 75732 Paris Cedex 15 F rance
Fax: (33) (0) 1. 45.68.57.45 - (33) (0) 1. 45.68.57.47
e-mail: [email protected]
Internet: http://www.unesco.org/courier
Director: René Lefort
Secretary, Director’s Office/Braille editions:
Annie Brachet (Tel: (33) (0) 1. 45.68.47.15)
Editorial staff (Paris)
Editor in Chief: John Kohut
English edition: Roy Malkin
Spanish edition: Araceli Ortiz de Urbina
French edition: Martine Jacot
Ethirajan Anbarasan
Sophie Boukhari
Cynthia Guttman
Lucía Iglesias Kuntz
Asbel López
Amy Otchet
Translation
Miguel Labarca
Art and production unit: Georges Ser vat
Illustrations: Ariane Bailey (Tel: (33) (0) 1. 45.68.46.90)
Documentation: José Banaag (Tel: (33) (0) 1. 45.68.46.85)
Liaison with non-Headquarters editions and press:
Solange Belin (Tel: 33 (0) 1. 45.68. 46.87)
Administrative Assistant: Theresa Pinck
(Tel: (33) (0) 1 45.68.45.86)
Editorial Committe e
René Le f o rt (moderator), Jérome Bindé, Milagros del Corra l ,
Alcino Da Costa, Babacar Fall, Sue Wi l l i a m s
Non-headquarters editions
Russian: Irina Utkina (Moscow)
German: Urs Aregger (Berne)
Arabic: Fawzi Abdel Zaher (Cairo)
Italian: G i ovanni Puglisi, Gianluca Formichi (Flore n c e )
Hindi: Shri Samay Singh (Delhi)
Tamil: M. Mohammed Mustafa (Madras)
Persian: Jalil Shahi (Teheran)
Portuguese: Alzira Alves de Abreu (Rio de Janeiro)
U rdu: Mirza Muhammad Mushir (Islamabad)
Catalan: Jordi Folch (Barcelona)
Malay: Sidin Ahmad Ishak (Kuala Lumpur)
Swahili: Leonard J. Shuma (Dar-es-Salaam)
S l ovene: Aleksandra Kornhauser (Ljubljana)
Chinese: Feng Mingxia (Beijing)
Bulgarian: Luba Ranjeva (Sofia)
Greek: Sophie Costopoulos (Athens)
Sinhala: Neville Piyadigama (Colombo)
Basque: Juxto Egaña (Donostia)
Thai: Suchitra Chitranukroh(Bangkok)
Vietnamese: Ho Tien Nghi (Hanoi)
Bengali: Kafil uddin Ahmad (Dhaka)
Ukrainian: Volodymyr Vasiliuk (Kiev)
Galician: Xabier Senín Fernández
(Santiago de Compostela)
Serbian: Boris Ilyenko (Belgrade)
Circulation and promotion
Fax: (33) (0) 1 45.68.57.45
Subscriptions and customer service
Michel Ravassard (Tel: (33) (0) 1. 45.68.45.91)
Sales and subscription agents
Mohamed Salal El Din (Tel: (33) (0) 1 45 68 49 19)
Stock management and shipping
Pham Van Dung (Tel: (33) (0) 1. 45.68.45.94)
Individual articles and photographs not copyrighted
may be reprinted providing the credit line re a d s
“ Reprinted from the UNES CO Courier”, plus date of
issue, and three voucher copies are sent to the editor.
Signed articles reprinted must bear author’s name.
Non-copyright photos will be supplied on re q u e s t .
Unsolicited manuscripts .
Bring together Jean-Claude Malgoire, Philippe Jaroussky, Agrippina, and Haendel, plus three male countertenors (they could have been four) and you have the most surprising opera you can imagine with a future emperor just out of puberty trying to rape everyone he meets in all the corridors of the Imperial palace. The ambitious and murderous mother of this future emperor is absolutely up to her reputation. Enjoy that masterpiece and get one DVD of any production. The music is beautiful, provided the countertenors are where they are supposed to be, i.e. on the stage.
The Legacy of a Humanistic Tradition in Roberto Rossellini’s Films and Research Work. Pictures taken from the art book-catalogue presented at the exhibition shown at the Museo di Roma in Trastevere (Rome, IT), 10 February – 1 April 2007.
The exhibition marked the final celebrations for Roberto Rossellini’s centenary, and underlined some of the lesser known aspects of the Italian film director’s research work and filmography.
The exhibition was structured in multiple sections. One of these showed a selection of pictures shot by Italian movie stills photographer Gianni Assenza.
This presentation is the revised English version of a previous one, prepared by the same author for CRDAV on July 12, 2010.
Project and Layout by Alessandro Califano,
Senior Curator at CRDAV - 27 September 2010.
PLANETForestsa hot dealfor a cooler worldCONNEXIONS.docxmattjtoni51554
PLANET
Forests:
a hot deal
for a cooler world
CONNEXIONS
International radio
makes
new waves
IN T ERV IEW
Wangari Muta
Maathai, Kenya’s
green militant
PEOPLE AND PLACES
Circus
flashbacks
Me m o ry :
making peace
with a violent pas t
December 1999
52nd year
Published monthly in 27 languages and in Braille
by the United Nations Educational, Scientific and
Cultural Organization.
31, rue François Bonvin, 75732 Paris Cedex 15 F rance
Fax: (33) (0) 1. 45.68.57.45 - (33) (0) 1. 45.68.57.47
e-mail: [email protected]
Internet: http://www.unesco.org/courier
Director: René Lefort
Secretary, Director’s Office/Braille editions:
Annie Brachet (Tel: (33) (0) 1. 45.68.47.15)
Editorial staff (Paris)
Editor in Chief: John Kohut
English edition: Roy Malkin
Spanish edition: Araceli Ortiz de Urbina
French edition: Martine Jacot
Ethirajan Anbarasan
Sophie Boukhari
Cynthia Guttman
Lucía Iglesias Kuntz
Asbel López
Amy Otchet
Translation
Miguel Labarca
Art and production unit: Georges Ser vat
Illustrations: Ariane Bailey (Tel: (33) (0) 1. 45.68.46.90)
Documentation: José Banaag (Tel: (33) (0) 1. 45.68.46.85)
Liaison with non-Headquarters editions and press:
Solange Belin (Tel: 33 (0) 1. 45.68. 46.87)
Administrative Assistant: Theresa Pinck
(Tel: (33) (0) 1 45.68.45.86)
Editorial Committe e
René Le f o rt (moderator), Jérome Bindé, Milagros del Corra l ,
Alcino Da Costa, Babacar Fall, Sue Wi l l i a m s
Non-headquarters editions
Russian: Irina Utkina (Moscow)
German: Urs Aregger (Berne)
Arabic: Fawzi Abdel Zaher (Cairo)
Italian: G i ovanni Puglisi, Gianluca Formichi (Flore n c e )
Hindi: Shri Samay Singh (Delhi)
Tamil: M. Mohammed Mustafa (Madras)
Persian: Jalil Shahi (Teheran)
Portuguese: Alzira Alves de Abreu (Rio de Janeiro)
U rdu: Mirza Muhammad Mushir (Islamabad)
Catalan: Jordi Folch (Barcelona)
Malay: Sidin Ahmad Ishak (Kuala Lumpur)
Swahili: Leonard J. Shuma (Dar-es-Salaam)
S l ovene: Aleksandra Kornhauser (Ljubljana)
Chinese: Feng Mingxia (Beijing)
Bulgarian: Luba Ranjeva (Sofia)
Greek: Sophie Costopoulos (Athens)
Sinhala: Neville Piyadigama (Colombo)
Basque: Juxto Egaña (Donostia)
Thai: Suchitra Chitranukroh(Bangkok)
Vietnamese: Ho Tien Nghi (Hanoi)
Bengali: Kafil uddin Ahmad (Dhaka)
Ukrainian: Volodymyr Vasiliuk (Kiev)
Galician: Xabier Senín Fernández
(Santiago de Compostela)
Serbian: Boris Ilyenko (Belgrade)
Circulation and promotion
Fax: (33) (0) 1 45.68.57.45
Subscriptions and customer service
Michel Ravassard (Tel: (33) (0) 1. 45.68.45.91)
Sales and subscription agents
Mohamed Salal El Din (Tel: (33) (0) 1 45 68 49 19)
Stock management and shipping
Pham Van Dung (Tel: (33) (0) 1. 45.68.45.94)
Individual articles and photographs not copyrighted
may be reprinted providing the credit line re a d s
“ Reprinted from the UNES CO Courier”, plus date of
issue, and three voucher copies are sent to the editor.
Signed articles reprinted must bear author’s name.
Non-copyright photos will be supplied on re q u e s t .
Unsolicited manuscripts .
Bring together Jean-Claude Malgoire, Philippe Jaroussky, Agrippina, and Haendel, plus three male countertenors (they could have been four) and you have the most surprising opera you can imagine with a future emperor just out of puberty trying to rape everyone he meets in all the corridors of the Imperial palace. The ambitious and murderous mother of this future emperor is absolutely up to her reputation. Enjoy that masterpiece and get one DVD of any production. The music is beautiful, provided the countertenors are where they are supposed to be, i.e. on the stage.
La Ciudad de los Canales se prepara estos días para albergar una de las citas artísticas más importantes del año, la Bienal de Arte de Venecia, que este año llega a su 55 edición y que permanecerá abierta del 1 de junio y el 24 de noviembre.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
Similar to NEW AESTHETICS FOR DATA NARRATIVES (20)
Accurat's data visualization for La Lettura dissected and explained / lectures for NYU ITP + Parsons Media and Technology Students, February and March 2013
We live in narrative environments: depicting places perception and identity through user generated content:
in The Future of Security, Parsons’ Insititue for information mapping conference within NYC Data Week (New York, 24 Oct 2012)
among the case studies I'm collecting here http://www.scoop.it/t/urbansensing on visualization of georeferenced data, this is a selection of the project based on the city of New York
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
7 Alternatives to Bullet Points in PowerPointAlvis Oh
So you tried all the ways to beautify your bullet points on your pitch deck but it just got way uglier. These points are supposed to be memorable and leave a lasting impression on your audience. With these tips, you'll no longer have to spend so much time thinking how you should present your pointers.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
1. New aesthetics for data narrative
Visualized conference
5-6 February 2014
New York
giorgia lupi
tw: @giorgialupi
www.accurat.it
www.giorgialupi.net
2. (10th October)
pupil of
Vincenzo Lavigna
Virginia Maria
elected as a liberal
-moderate representative
opening of the Suez Canal
(for which he composed Aida)
Franco-Prussian
war
death of Manzoni
(for which he composed
Messa di Requiem)
birth of
Young Italy
adoption of the
Albertine Statute
Unification of Italy
Margherita
Barezzi
Giuseppina
Strepponi
Icilio Romano
(22nd May)
Cosima Wagner
Minna Planer
Matilde
Wesendonck
Isolde
Eva
Sigfrido
pupil of
Theodor Weinlig
flees to Switzerland
for political reasons
active participation in
revolutionary movements
1820
1825
1830
1835
1840
1845
1850
1855
1860
1865
1870
1875
1813
La Traviata
La Fenice - Venice
Aida
Opera House - Cairo
Rigoletto
La Fenice - Venice
Nabucco
La Scala - Milan
Il Trovatore
Teatro Apollo - Rome
Macbeth
Teatro della Pergola - Florence
Un ballo in maschera
Teatro Apollo - Rome
Otello
La Scala - Milan
Falstaff
La Scala - Milan
Giuseppe
Verdi
Richard
Wagner
New?
Non common?
Unusual?
customized for that piece, for that topic, for that data
that haven’t necessarly been seen before
Visual models and metaphors
How to read it?
Aida
Opera House - Cairo
Rigoletto
La Fenice - Venice
Nabucco
La Scala - Milan
Il Trovatore
Teatro Apollo - Rome
Macbeth
Teatro della Pergola - Florence
Un ballo in maschera
Teatro Apollo - Rome
Otello
La Scala - Milan
Falstaff
La Scala - Milan
Don Carlos
Salle Le Peletier - Paris
3. (10th October)
pupil of
Vincenzo Lavigna
Virginia Maria
elected as a liberal
-moderate representative
opening of the Suez Canal
(for which he composed Aida)
Franco-Prussian
war
death of Manzoni
(for which he composed
Messa di Requiem)
birth of
Young Italy
adoption of the
Albertine Statute
Unification of Italy
Margherita
Barezzi
Giuseppina
Strepponi
Icilio Romano
(22nd May)
Cosima Wagner
Minna Planer
Matilde
Wesendonck
Isolde
Eva
Sigfrido
pupil of
Theodor Weinlig
flees to Switzerland
for political reasons
active participation in
revolutionary movements
1820
1825
1830
1835
1840
1845
1850
1855
1860
1865
1870
1875
1813
La Traviata
La Fenice - Venice
Aida
Opera House - Cairo
Rigoletto
La Fenice - Venice
Nabucco
La Scala - Milan
Il Trovatore
Teatro Apollo - Rome
Macbeth
Teatro della Pergola - Florence
Un ballo in maschera
Teatro Apollo - Rome
Otello
La Scala - Milan
Falstaff
La Scala - Milan
Giuseppe
Verdi
Richard
Wagner
evocative
visually pleasant
How to read it?
Aida
Opera House - Cairo
Rigoletto
La Fenice - Venice
Nabucco
La Scala - Milan
Il Trovatore
Teatro Apollo - Rome
Macbeth
Teatro della Pergola - Florence
Un ballo in maschera
Teatro Apollo - Rome
Otello
La Scala - Milan
Falstaff
La Scala - Milan
Don Carlos
Salle Le Peletier - Paris
unexpected but
experimental but
4. “FAMOUS WRITERS’ SLEEP HABITS
AND LITERARY PRODUCTIVITY”
Illustrations and data-visualizations?
Maria Popova, Accurat, Wendy Mc Naughton,
for brainpickings.org
Accurat (Giorgia Lupi, Simone Quadri, Davide Ciuffi, Federica Fragapane)
13. 1964
Cell biology
Gen
etics and heredity
1956
M
athematics
Biophysics
Biology
Biochemistryand
m
olecular biology
Astrophysics
Multidiscip
Mult
idisciplinary chemistry
A
nalytical chemistry
Ar
tificial Intelligence
Condensed-matter phy
sics
Environmental scie
nces
Multidisciplinary sciences
n
Life sciences fields
have a quicker pace
overall—evident in
their narrower colored
rings—than the
physical sciences.
Recent papers tend to
have more authors—
as in environmental
science [far right].
d
“THE ACCELERATING PACE OF SCIENCE”
visual inspirations from different fields
Accurat for Popular Science, April 2014, Giorgia Lupi, Simone Quadri, Glauco Mantegari, Davide Ciuffi, Pietro Guinea Montalvo
14. 1964
Cell biology
Gen
etics and heredity
1956
M
athematics
Biophysics
Biology
Biochemistryand
m
olecular biology
Astrophysics
M
Mult
idisciplinary chemistry
A
nalytical chemistry
Ar
tificial Intelligence
Condensed-matter phy
sics
Environmental scie
nces
Multidisciplinary sciences
ow
hen
-
ger
rn
Life sciences fields
have a quicker pace
overall—evident in
their narrower colored
rings—than the
physical sciences.
Recent papers tend to
have more authors—
as in environmental
science [far right].
rs
hed
e.”
0
of
_top 20 scientific papers,
_cumulative number of citations,
from 1948 to 1998
1948
1998
15. 1964
Cell biology
Gen
etics and heredity
1956
M
athematics
Biophysics
Biology
Biochemistryand
m
olecular biology
Astrophysics
M
Mult
idisciplinary chemistry
A
nalytical chemistry
Ar
tificial Intelligence
Condensed-matter phy
sics
Environmental scie
nces
Multidisciplinary sciences
ow
hen
-
ger
rn
Life sciences fields
have a quicker pace
overall—evident in
their narrower colored
rings—than the
physical sciences.
Recent papers tend to
have more authors—
as in environmental
science [far right].
rs
hed
e.”
0
of
16. 1964
Cell biology
Gen
etics and heredity
1956
M
athematics
Biophysics
Biology
Biochemistryand
m
olecular biology
Astrophysics
M
Mult
idisciplinary chemistry
A
nalytical chemistry
Ar
tificial Intelligence
Condensed-matter phy
sics
Environmental scie
nces
Multidisciplinary sciences
ow
hen
-
ger
rn
Life sciences fields
have a quicker pace
overall—evident in
their narrower colored
rings—than the
physical sciences.
Recent papers tend to
have more authors—
as in environmental
science [far right].
rs
hed
e.”
0
of
(visual references)
17. “SELLING AT SUNDANCE”
3D and 2D Barbapapa
Accurat for Bright Ideas Magazine,
January 2014
Giorgia Lupi
Michele Graffieti
18. Beasts of the
Southern Wild
$ 1,8M
$ 1M
$ 12,8M
Another
Earth
$ 0,15M
$ 1M
$ 1,3M
Lay the
Favorite
$ 20M
$ 2M
$ 1,6M
Austenland
$ 7,8M
$ 4M
$ 1,9M
Red Lights
$ 22,4M
$ 4M
$ 13,55M
22. Catching interest,
Trying to make people feel something,
Triggering curiosity to understand
(image / Accurat for La Lettura, The Pritzker Architecture Prize)
24. "you know what I like the most?
the one displaying those kind of
candelholders…
yes, that one I'd love to hang it
on the wall !”
FUNNY COMMENTS, 01
“Oh, so sweet of you,
granny! but I am just
curious…
do you remember the
topic at least?”
“Topic?”
(grandmother)
29. "Oh Accurat! You guys are the
ones who did the one that looks
like green and red jellifishes,
right? it's beautiful!”
FUNNY COMMENTS, 02
NYC Datavisualization Meetup, Sept 2013
(image / Accurat for La Lettura,
Geniuses, European banks and government debt)
30.
31. “I saw your last one, the one
with the clocks, I mean for the
authors! Love it !!”
FUNNY COMMENTS, 03
office-mate, december 2013
(image / Accurat for La Lettura,
From first published to masterpieces)
32. how people remember and name them,
what they refer to,
(Triggering curiosity to understand)
34. FUNNY COMMENTS, 04
in a cafè, Milan, February 2013
(image / Accurat for La Lettura,
the Brain Drain)
“see this difference between Italy
and Spain, (...)
Dont’t they seem like little guns?
They do their job though!”
36. Visual inspirations from unusual contexts
as an attemp to analyze the aesthetic qualities
of things naturally pleasant to our eyes
(images, various abstract paintings
38. m
c
music room
religious music
composition for piano
opera
orchestral music
vocal music
symphonic music
band m
prose
1840
1845
1850
1855
1860
1865
1870
1875
1880
1890
1900
1895
1885
rk[...]
1901
1883
Aida
Cairo
to
ice
Nabucco
la - Milan
Il Trovatore
pollo - Rome
Macbeth
rgola - Florence
allo in maschera
tro Apollo - Rome
Otello
La Scala - Milan
Falstaff
La Scala - Milan
Don Carlos
Salle Le Peletier - Paris
Simon Boccanegra
La Fenice - Venice
La forza del destino
La Fenice - Venice
Festspiel
Siegfried
Festspielhaus - Bayreuth
Tannhäuser
Semperoper - Dresde
Götterdämmerung
Festspielhaus - Bayreu
Lohengrin
National Theatre
Die Meistersing
National Theat
Rienzi, der Le
Tribunen
Semperoper
Der Ring d
Festspielha
(27th January)
Vincenz
Virginia Maria
elected as a liberal
-moderate representative
opening of the Suez Canal
(for which he composed Aida)
Franco-Prussian
war
death of Manzoni
(for which he composed
Messa di Requiem)
adoption of the
Albertine Statute
Unification of Italy
signed the Triple Alliance between
Germany, Austria and Italy
Margherita
Barezzi
Giuseppina
Strepponi
entry into the Senate
Icilio Romano
(13th february)
Cosima Wagner
Matilde
Wesendonck
Isolde
Eva
Sigfrido
flees to Switzerland
for political reasons
active participation in
revolutionary movements
(image: Accurat for La Lettura: Verdi and Wagner)
Aristotle
“Metaphor consists in giving the thing
a name that belongs to something else
39. In the end, creating is all about
playing and innovating within familiar forms
Twyla Tharp
“
(image: Accurat for La Lettura: Writers in prison, not for their books)
40. New aesthetics for data narrative
Visualized conference
5-6 February 2014
New York
giorgia lupi
tw: @giorgialupi
www.accurat.it
www.giorgialupi.net