Using Data Visualisation to tell Stories about Collections

Davis, Stephen Boyd; Vane, Olivia; Kräutli, Florian

doi:10.14236/ewic/eva2016.44

Cited by 8 publications

(2 citation statements)

References 12 publications

(5 reference statements)

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“…In the context of visual interfaces to CH collections, narrative guidance can be implemented, for example, as animated movements across a map, which may include different textual and visual source materials [70], [89]. Narration can also follow a curator's storyboard along various spatial (i.e., linear or axial) encodings of time as with timelines, flowcharts, or tree diagrams [150], or also in 3D space [151]. The guidance can be author-driven (e.g., by curators [64]), user-driven [23], [29], or even created by users with their own CH data [70].…”

Section: User Guidance and Narrationmentioning

confidence: 99%

Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges

Windhager

Federico

Schreder

et al. 2019

IEEE Trans. Visual. Comput. Graphics

115

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After decades of digitization, large cultural heritage collections have emerged on the web, which contain massive stocks of content from galleries, libraries, archives, and museums. This increase in digital cultural heritage data promises new modes of analysis and increased levels of access for academic scholars and casual users alike. Going beyond the standard representations of search-centric and grid-based interfaces, a multitude of approaches has recently started to enable visual access to cultural collections, and to explore them as complex and comprehensive information spaces by the means of interactive visualizations. In contrast to conventional web interfaces, we witness a widening spectrum of innovative visualization types specially designed for rich collections from the cultural heritage sector. This new class of information visualizations gives rise to a notable diversity of interaction and representation techniques while lending currency and urgency to a discussion about principles such as serendipity, generosity, and criticality in connection with visualization design. With this survey, we review information visualization approaches to digital cultural heritage collections and reflect on the state of the art in techniques and design choices. We contextualize our survey with humanist perspectives on the field and point out opportunities for future research.

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Section: User Guidance and Narrationmentioning

confidence: 99%

Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges

Windhager

Federico

Schreder

et al. 2019

IEEE Trans. Visual. Comput. Graphics

115

View full text Add to dashboard Cite

show abstract

“…To do this, designers will be obliged to engage with their subject-matter rather than ‘simply’ present data that is presented to them. Indeed, the whole question of the extent to which data alone, even visualized, can articulate meaning about collections is an open one (Boyd Davis, Vane, and Kräutli 2016). Our accounts of projects above show how useful design can be to other disciplines – as an interrogative, not a decorative practice – but also how much designers need to learn about the materials, projects, objectives, histories, cultures and other aspects of the collections and institutions they work with in order to make their fullest contribution.…”

Section: Conclusion and Recommendationsmentioning

confidence: 99%

Can I believe what I see? Data visualization and trust in the humanities

Davis

Vane

Kräutli

2021

Interdisciplinary Science Reviews

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Questions of trust are increasingly important in relation to data and its use. The authors focus on humanities data and its visualization, through analysis of their own recent projects with museums, archives and libraries internationally. Their account connects the specifics of hands-on digital humanities work to larger epistemological questions. They discuss the sources of potential mistrust, and examine how different expectations and assumptions emerge depending on the use and user of the data; they offer a simple schema through which the implications may be traced. It is argued that vital issues of trust can be engaged with through design, which, rather than being conceived as a cosmetic finish, is seen as contributing insights and questions that affect the whole process. The article concludes with recommendations intended to be useful in both theory and practice.

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Kinesthetic Archaeologies: Digital Methods and the Reconstruction of Movement

Dunn

2023

Capturing the Senses

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Digitization, defined as the capture of data into computable 1 and 0 s, is a freeze-frame process: a digital image, a piece of text, a video or audio file are a fixed set of data that is only rendered dynamic when it is read or played, or otherwise executed. What, therefore, are the implications of digitising movement? Digital technologies and methods employed for such digitization take a variety of forms, but broadly, they can be divided into two categories: those which capture and record motion directly (such as motion capture), and those which reconstruct it (such as GIS cost pathways). This chapter will consider and compare these two classes of approach. By considering them in the context of their “digital epistemology,” it will seek to situate these two highly complementary methods between performance studies and the digital humanities. By combining historical perspectives from both areas, the chapter will offer an evaluation of how the digital capture and recording of movement can contribute to our understandings of past environments and processes.

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Using Data Visualisation to tell Stories about Collections

Cited by 8 publications

References 12 publications

Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges

Visualization of Cultural Heritage Collection Data: State of the Art and Future Challenges

Can I believe what I see? Data visualization and trust in the humanities

Kinesthetic Archaeologies: Digital Methods and the Reconstruction of Movement

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