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What is visualisation?

机译:什么是可视化?

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This article proposes that the practice of information visualisation (infovis), from its beginnings in the second part of the eighteenth century until today, relied on two key principles. The first principle is reduction. Infovis uses graphical primitives such as points, straight lines, curves and simple geometric shapes to stand in for objects and relations between them. The second principle is the use of spatial variables (position, size, shape and, more recently, movement) to represent key differences in the data and reveal patterns and relations. Following this analysis, the author discusses a more recent visualisation method which we can call a??direct visualisationa?? (or a??media visualisationa??): creating new visual representations from the actual visual media objects (images, video) or their parts. The article analyses the well-known examples of artistic visualisations that use this method: Listening Post (Ben Rubin and Mark Hansen), Cinema Redux (Brendan Dawes) and Preservation of Selected Traces (Ben Fry). It further suggests that direct visualisation is particularly relevant for humanities, media studies and cultural institutions. Using the actual visual artefacts in visualisation as opposed to representing them by graphical primitives helps the researcher to understand meaning and/or cause behind the patterns she may observe, as well as to discover additional patterns. To illustrate this idea, examples of projects created in the author's lab at UCSD (softwarestudies.com) are presented. Founded in 2007, the lab works on techniques and software to allow interactive exploration of large sets of visual cultural data using a direct visualisation approach and supervisualisation systems such as 215 megapixel HIPerSpace. The examples of its work are visualisations of 4553 covers of every issue of Time magazine published between 1923 and 2009; visualisations of all pages of every issue of Science and Popular Science magazines published between 1872 and 1922; and a set of visualisations of 1 million pages on Manga series.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/1472586X.2011.548488
机译:本文提出,从18世纪下半叶开始到今天,信息可视化(infovis)的实践依赖于两个关键原则。第一个原则是减少。 Infovis使用图形基元(例如点,直线,曲线和简单的几何形状)代替对象及其之间的关系。第二个原则是使用空间变量(位置,大小,形状以及最近使用的运动)来表示数据中的关键差异并揭示模式和关系。根据这一分析,作者讨论了一种较新的可视化方法,我们可以将其称为“直接可视化a”。 (或“媒体可视化a”):从实际的视觉媒体对象(图像,视频)或其部分创建新的视觉表示。文章分析了使用这种方法的艺术形象化的著名示例:《听筒》(本·鲁宾和马克·汉森),《电影院》(Brendan Dawes)和《精选遗迹的保存》(本·弗莱)。它进一步表明,直接可视化与人文,媒体研究和文化机构特别相关。与通过图形基元表示它们相比,在可视化中使用实际的视觉人工制品有助于研究人员理解她可能观察到的图案的含义和/或原因,以及发现其他图案。为了说明这个想法,本文提供了在UCSD(softwarestudies.com)作者实验室中创建的项目的示例。该实验室成立于2007年,致力于研究技术和软件,从而可以使用直接可视化方法和超可视化系统(例如215兆像素HIPerSpace)对大范围的视觉文化数据进行交互式探索。它的工作实例是可视化显示1923年至2009年之间出版的《时代》杂志每期的4553张封面; 1872年至1922年间出版的《科学与大众科学》杂志每期所有页面的可视化;以及有关漫画系列的一百万页的可视化效果。查看全文下载全文相关的变量addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon, digg,google,more“,发布号:” ra-4dff56cd6bb1830b“}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/1472586X.2011.548488

著录项

  • 来源
    《Visual Studies》 |2011年第1期|36-49|共14页
  • 作者

    Lev Manovich;

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