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Date

22. 1.2017 16:54:03
22. 1.2017 17:10:56

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Abstract

This book is the outcome of the Dagstuhl Seminar on "Information Visualization - Human-Centered Issues in Visual Representation, Interaction, and Evaluation" held at Dagstuhl Castle, Germany, from May 28 to June 1, 2007. Information Visualization (InfoVis) is a relatively new research area, which focuses on the use of visualization techniques to help people understand and analyze data.This book documents and extends the findings and discussions of the various sessions in detail. The seven contributions cover the most important topics: Part I is on general reflections on the value of information visualization; evaluating information visualizations; theoretical foundations of information visualization; teaching information visualization. Part II deals with specific aspects on creation and collaboration: engaging new audiences for information visualization; process and pitfalls in writing information visualization research papers; and visual analytics: definition, process, and challenges.

Content

Inhalt: Part I. General Reflections The Value of Information Visualization / Jean-Daniel Fekete, Jarke J van Wijk, John T. Stasko, Chris North Evaluating Information Visualizations / Sheelagh Carpendale Theoretical Foundations of Information Visualization / Helen C. Purchase, Natalia Andrienko, T.J. Jankun-Kelly, Matthew Ward Teaching Information Visualization / Andreas Kerren, John T. Stasko, Jason Dykes Part II. Specific Aspects Creation and Collaboration: Engaging New Audiences for Information Visualization / Jeffrey Heer, Frank van Ham, Sheelagh Carpendale, Chris Weaver, Petra Isenberg Process and Pitfalls in Writing Information Visualization Research Papers / Tamara Munzner Visual Analytics: Definition, Process, and Challenges / Daniel Keim, Gennady Andrienko, Jean-Daniel Fekete, Carsten Görg, Jörn Kohlhammer, Guy Melancon

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Date

30. 1.2007 18:22:41

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Date

22. 3.2008 14:35:21

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Date

22. 3.2008 14:29:25

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Footnote

Rez. in: JASIST 56(2005) no.10, S.1126-1128 (P.K. Nayar): "How Images Think is an exercise both in philosophical meditation and critical theorizing about media, images, affects, and cognition. Burnett combines the insights of neuroscience with theories of cognition and the computer sciences. He argues that contemporary metaphors - biological or mechanical - about either cognition, images, or computer intelligence severely limit our understanding of the image. He suggests in his introduction that "image" refers to the "complex set of interactions that constitute everyday life in image-worlds" (p. xviii). For Burnett the fact that increasing amounts of intelligence are being programmed into technologies and devices that use images as their main form of interaction and communication-computers, for instance-suggests that images are interfaces, structuring interaction, people, and the environment they share. New technologies are not simply extensions of human abilities and needs-they literally enlarge cultural and social preconceptions of the relationship between body and mind. The flow of information today is part of a continuum, with exceptional events standing as punctuation marks. This flow connects a variety of sources, some of which are continuous - available 24 hours - or "live" and radically alters issues of memory and history. Television and the Internet, notes Burnett, are not simply a simulated world-they are the world, and the distinctions between "natural" and "non-natural" have disappeared. Increasingly, we immerse ourselves in the image, as if we are there. We rarely become conscious of the fact that we are watching images of events-for all perceptioe, cognitive, and interpretive purposes, the image is the event for us. The proximity and distance of viewer from/with the viewed has altered so significantly that the screen is us. However, this is not to suggest that we are simply passive consumers of images. As Burnett points out, painstakingly, issues of creativity are involved in the process of visualization-viewwes generate what they see in the images. This involves the historical moment of viewing-such as viewing images of the WTC bombings-and the act of re-imagining. As Burnett puts it, "the questions about what is pictured and what is real have to do with vantage points [of the viewer] and not necessarily what is in the image" (p. 26). In his second chapter Burnett moves an to a discussion of "imagescapes." Analyzing the analogue-digital programming of images, Burnett uses the concept of "reverie" to describe the viewing experience. The reverie is a "giving in" to the viewing experience, a "state" in which conscious ("I am sitting down an this sofa to watch TV") and unconscious (pleasure, pain, anxiety) processes interact. Meaning emerges in the not-always easy or "clean" process of hybridization. This "enhances" the thinking process beyond the boundaries of either image or subject. Hybridization is the space of intelligence, exchange, and communication.
Burnett's work is a useful basic primer an the new media. One of the chief attractions here is his clear language, devoid of the jargon of either computer sciences or advanced critical theory. This makes How Images Think an accessible introduction to digital cultures. Burnett explores the impact of the new technologies an not just image-making but an image-effects, and the ways in which images constitute our ecologies of identity, communication, and subject-hood. While some of the sections seem a little too basic (especially where he speaks about the ways in which we constitute an object as an object of art, see above), especially in the wake of reception theory, it still remains a starting point for those interested in cultural studies of the new media. The Gase Burnett makes out for the transformation of the ways in which we look at images has been strengthened by his attention to the history of this transformation-from photography through television and cinema and now to immersive virtual reality systems. Joseph Koemer (2004) has pointed out that the iconoclasm of early modern Europe actually demonstrates how idolatory was integral to the image-breakers' core belief. As Koerner puts it, "images never go away ... they persist and function by being perpetually destroyed" (p. 12). Burnett, likewise, argues that images in new media are reformed to suit new contexts of meaning-production-even when they appear to be destroyed. Images are recast, and the degree of their realism (or fantasy) heightened or diminished-but they do not "go away." Images do think, but-if I can parse Burnett's entire work-they think with, through, and in human intelligence, emotions, and intuitions. Images are uncanny-they are both us and not-us, ours and not-ours. There is, surprisingly, one factual error. Burnett claims that Myron Kreuger pioneered the term "virtual reality." To the best of my knowledge, it was Jaron Lanier who did so (see Featherstone & Burrows, 1998 [1995], p. 5)."

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Date

23. 3.2008 19:10:22