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Visualizations and images as objects of knowledge in art and design Prof. Lily D íaz

Visualizations and images as objects of knowledge in art and design Prof. Lily D íaz. School of Arts , Design and Architecture Aalto University Media Lab Helsinki 05.02.2014. Knowledge in design. Tacit and embedded in practice Situated and dependent on context. Visualisation artifacts.

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Visualizations and images as objects of knowledge in art and design Prof. Lily D íaz

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  1. Visualizations and images as objects of knowledge in art and designProf. Lily Díaz School of Arts, Design and Architecture Aalto University Media Lab Helsinki 05.02.2014

  2. Knowledge in design • Tacit and embedded in practice • Situated and dependent on context Lily Díaz-Kommonen

  3. Visualisationartifacts • Theyoperate at a meta-indexicallevel. • Meta-indexical: Theyaremorethan the sum of itspartsTheyserve as the holding groundwherecodified and uncodifiedknowledgecanmeet. Lily Díaz-Kommonen

  4. Visualisationartifacts and knowledge • They can operate as a holding place for tacit knowledge. (Tacit knowledge cannot easily be verbalized.) • They can operate as a holding place for experiential knowledge. (Experiential knowledge is knowledge acquired through practice.) • Many times, they are also the product of a situated practice. (Situated practice: They are context specific. In order to have access to the meaning of a representation, one must also have access to the codes.) Lily Díaz-Kommonen

  5. Visualisationartifacts and tacitknowledge • Transform other ways of knowing, such as verbal and mathematical modes, into a visual format. • Index, frame, or re-frame unarticulated knowledge. • Represent different ways of knowing (or practices) through their ability to merge diverse systems of representation such as verbal, mathematical, pictorial... Lily Díaz-Kommonen

  6. Visualisationartifacts as boundaryobjects • Boundary objects that facilitate the coordination of work because they can be interpreted in a tightly focused way by specialists, while being simultaneously readable by generalists. (Leigh Star S. 1999) • They create an arena for social interaction: the design process can be shared, at different points in time, by different members of a community. • Since they influence the design process, it can be argued that, to a large extent they also influence the production process. Lily Díaz-Kommonen

  7. Boundary object Lily Díaz-Kommonen

  8. Boundary object Lily Díaz-Kommonen

  9. Not all images are created equal... Lily Díaz-Kommonen

  10. Iconicity • Said of a sign or image that is a naturalistic representation of the object it denotes. (Elkins, 1999) • Based on the fact that an image of a real object is usually based on an artifact of the real world. • Based on the fact that images can display diverse grades of similarity with that object. Lily Díaz-Kommonen

  11. Iconicity Lily Díaz-Kommonen

  12. Iconicity and visualization Berenice Abbott, c. 1960. Lily Díaz-Kommonen

  13. Schema • Images with pictures, writing and notations, usually based in reference lines and other geometric configurations. • Is an abstract and simplified representation of a phenomenon, a structure, or a process in the world. • It is of a ”Gestalt nature” since it presents all the diverse relationships that exist between the elements of a given phenomenon, structure, or process in an almost simultaneous and synchronic manner. (Costa, 1998) Lily Díaz-Kommonen

  14. Schematization • Involves the construction of abstract schema with the objective of effecting a graphic transformation of non-visible phenomena. • For the purpose of communication, it makes use of methods of: • Abstraction • Synthesis • Intelligibility Lily Díaz-Kommonen

  15. Schematization taxonomy(Joan Costa, Abraham Moles) Lily Díaz-Kommonen

  16. Schematization of an object Lily Díaz-Kommonen

  17. Iconicity and schematization(Case study on chocolate) Lily Díaz-Kommonen

  18. Schematization level 1 • 1. Visualization based on different degrees of iconicity • Example: Children’s books, didactic illustrations Lily Díaz-Kommonen

  19. Schematization level 1 Lily Díaz-Kommonen

  20. Schematization level 2 • Visualization of information of a figurative nature. • Example: Maps, thematic cartography, road maps, urban maps and plans, architectural maps. Lily Díaz-Kommonen

  21. Schematization level 2 Lily Díaz-Kommonen

  22. Schematization level 3 • Visualization based on schematization, simplification, and inclusion of pictograms. • Example: Functional graphics found in help manuals, weather graphics. • Objective is to explain different dimension of phenomena. Lily Díaz-Kommonen

  23. Schematization level 3 Lily Díaz-Kommonen

  24. Schematization level 4 • Visualization based on schematization that makes use of statistics and figurative information. • Technical and industrial graphics Lily Díaz-Kommonen

  25. Schematization level 4 Lily Díaz-Kommonen

  26. Schematization level 5 • Visualization based on abstraction. Includes the presentation of non-visible reality, phenomena, and conditions. • Example: Scientific illustrations used in didactic communications, quantitative graphics, scientific iconography. Lily Díaz-Kommonen

  27. Schematization level 5 Lily Díaz-Kommonen

  28. Schematization level 6 • Visualization based on abstraction through analogy. Schematization with zero degree of iconicity. • Schematics that presents ideas, phenomena, and invisible processes. Lily Díaz-Kommonen

  29. Schematization level 6 Lily Díaz-Kommonen

  30. Schematization level 7 • Schematization of information that is of an entirely textual, non-iconic nature. Lily Díaz-Kommonen

  31. Schematization level 7 Lily Díaz-Kommonen

  32. Visualizations and models in art and design • Translation of information into graphical format. • Makes use of both iconic and schematic representations. • Narrative-like structure, rhetorics. Lily Díaz-Kommonen

  33. Visualisations • Provide an ability to comprehend huge amounts of data. • Allows for the perception of emergent properties that were not anticipated. • Facilitates hypothesis building. • Revelatory aspect. Lily Díaz-Kommonen

  34. Mediators that use tacit knowledge? • Committed • Interiorized • Projective Lily Díaz-Kommonen

  35. “We keep expanding our body into the world, by assimilating to it sets of particulars which we integrate into reasonable entities. Thus we form intellectually and practically an interpreted universe populated by entities the particulars of which we have interiorized for the sake of comprehending their meaning in the shape of coherent entities.” (Polanyi, 29) Lily Díaz-Kommonen

  36. We cannot really tell beforehand what people are going to see in images ... so ... ...we must test... Lily Díaz-Kommonen

  37. Partial List of Sources • Bertin, Jacques, The Semiology of Graphics, Diagrams, Networks,Maps, The University of Wisconsin Press,1983. • Bowker, Geoffrey and Susan Leigh Star,Classification and its Consequences, MIT Press, 1999. • Costa, Joan, La Esquemática, Visualizar la Información, Paidós, Barcelona, 1998. • Moles, Abraham, Grafismo Funcionl, Barcelona, Ceac, 1990. • Elkins, James, The Domain of Images, Cornell University Press, 1999. • O’Neal, Hank, Berenice Abbott, American Photographer, McGraw-Hill, 1982 • Polanyi, Michael, The Tacit Dimension, Peter Smith, 1983. Lily Díaz-Kommonen

  38. Thank you<lily.diaz@aalto.fi> Lily Díaz-Kommonen

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