Table Of Content

MAKING DATA ii MAKING DATA Materializing Digital Information EDITED BY IAN GWILT BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2022 Copyright © Editorial content and introductions, Ian Gwilt, 2022 © Individual chapters, their authors, 2022 Ian Gwilt has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Editor of this work. For legal purposes the Acknowledgements on p. xxii constitute an extension of this copyright page. Cover design: Louise Dugdale Cover image: Snow Water Equivalent sculpture by Adrien Segal All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: Gwilt, Ian, editor. Title: Making data : materializing digital information / edited by Ian Gwilt. Description: London ; New York : Bloomsbury Visual Arts, 2022. | Includes bibliographical references and index. Identifiers: LCCN 2021052915 (print) | LCCN 2021052916 (ebook) | ISBN 9781350133235 (hardback) | ISBN 9781350133242 (epub) | ISBN 9781350133259 (pdf) Subjects: LCSH: Information visualization–Social aspects. | Data structures (Computer science) | Object (Philosophy) Classification: LCC QA76.9.I52 M35 2022 (print) | LCC QA76.9.I52 (ebook) | DDC 001.4/226–dc23/eng/20211130 LC record available at https://lccn.loc.gov/2021052915 LC ebook record available at https://lccn.loc.gov/2021052916 ISBN: HB: 978-1-3501-3323-5 ePDF: 978-1-3501-3325-9 eBook: 978-1-3501-3324-2 Typeset by Integra Software Services Pvt. Ltd. To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. CONTENTS List of figures vii List of contributing authors xi Foreword xix Acknowledgements xxii Introduction Ian Gwilt 1 SECTION ONE MAKING DATA: THEORIES 7 1 Data-objects: Thinking with your hands Adrien Segal 9 2 Shifting data between the material and the virtual is not an immaterial matter Dew Harrison 25 3 Data as environment: Physicalization strategies for communicating environmental data Laura Perovich and Dietmar Offenhuber 41 4 Designing explanations of data-based interactions in socio-technical systems Aaron Fry 57 5 Moving data: Visualizing human and non-human movement artistically Michele Barker and Anna Munster 73 SECTION TWO MAKING DATA: PRACTICES 87 6 Uncanny landscapes: Tactile and experiential encounters with ecological data Zoë Sadokierski, Monica Monin and Andrew Burrell 89 vi CONTENTS 7 Exploring digital-material hybridity in the post-digital museum Daniela Petrelli and Nick Dulake 107 8 Socio-material translations of data and value(s) Bettina Nissen 125 9 Personal data manifestation: A tangible poetics of data Giles Lane and George Roussos 141 10 Data and emotion: The climate change object Karin von Ompteda 153 SECTION THREE MAKING DATA: TECHNIQUES 167 11 Hybrid data constructs: Interacting with biomedical data in augmented spaces Daniel F. Keefe, Bridger Herman, Jung Who Nam, Daniel Orban and Seth Johnson 169 12 Sonic data physicalization Stephen Barrass 183 13 Making with climate data: Materiality, metaphor and engagement Mitchell Whitelaw and Geoff Hinchcliffe 195 14 Waterfalls as a form of AI-based feedback for creativity support Georgi V. Georgiev and Yazan Barhoush 211 15 Data as action: Constructing dynamic data physicalizations Jason Alexander 223 SECTION FOUR MAKING DATA: TRAJECTORIES 237 16 Making data: The next generation Ian Gwilt and Aaron Davis 239 Index 247 FIGURES 1.1 Tidal Datum, San Francisco, 2007, by Adrien Segal. Wood and Steel, 26″ x 32″ x 72″. Photo courtesy of the artist. The tide data represented in three-dimensions (x, y, z) are: (x) observed water level height; (y) 24-hour daily tide chart; and (z) 29 days or the duration of a full tide cycle 13 1.2a Arctic Sea Ice/Albedo, 2017 Cast Glass. Artwork by Adrien Segal 15 1.2b Trends in Water Use, 2011. Carved Plywood and Steel. Artwork by Adrien Segal. Photograph by Fredrik Nilsen Studio 15 2.1 The Shift-Life installation in action (Harrison 2009) 35 4.1 Working toward an ‘Affinity Map’ in a design thinking session for the Visualizing Finance Lab. Parsons School of Design, NYC. February 2019. Photo by author 67 4.2 A map of first and second-order effects. Used for an innovation exercise within an American automotive company in March 2020. This is the author’s version of a template derived from the collaborative whiteboard platform ‘Miro’. Photo courtesy of Megan Staake 68 5.1 An example of typically formatted movement data containing x,y coordinates as longitude and latitude positions and timestamps. Fraser KC, Shave A, Savage A, Ritchie A, Bell K, Siegrist J, Ray JD, Applegate K, Pearman M (2016) Data from: Determining fine-scale migratory connectivity and habitat selection for a migratory songbird by using new GPS technology. Movebank Data Repository. doi:10.5441/001/1.5q5gn84d. Published under Creative Commons license, Universal Public Domain Declaration 76 5.2 Screenshot of two moving image channels combined in pull, 2017, Michele Barker and Anna Munster, multi- channel audiovisual installation. The left shows high-speed cinematography; the right movement data rendered as 3D CGI 78 viii FIGURES 5.3 Left: Cinematographer Chris Bryan filming under waves and wearing the GPS enabled watch capturing movement data. Right: Screenshot of the motion path produced by x, y coordinates of the cinematographer’s geospatial location correlated with timestamp data over a 3-hour period taken from the visual interface on the GPS enabled watch 81 6.1 Film still from Clever Country (Zakpage 2019) 94 6.2 Semiconductor’s Cosmos in Alice Holt Forest, UK. Photograph by Laura Hodgson, 2014 96 7.1 The elements of Fort Pozzacchio installation (from bottom left to right): the pebble; the interactive bench with the testimonies slots; the printed postcard; the animation in station 1 being played (top). Images: Daniela Petrelli/Nick Dulake 113 7.2 The interaction with My Roman Pantheon (from top left): collecting the lamp from Juno’s shrine; in the museum offering a light; back at the shrine returning the lamp and collecting the ‘oracle’; four different personalised postcards. Images: Daniela Petrelli/ Nick Dulake 116 7.3 The Interaction at the Atlantic Wall exhibition (from bottom left – clockwise): the replicas representing the different perspectives; a visitor using the sugar box to listen to the stories of the Dutch civilians; the personalized website; and the postcard. Images: Daniela Petrelli/Nick Dulake 118 8.1 (a, b) Block Exchange workshop. Photo: Bettina Nissen; (c, d) Weaving Crypto-Ledgers workshop. Photo: Bob Moyler; (e, f) Strings of Distributed Value workshop. Photo: Bob Moyler 129 8.2 (a, b) GeoCoin experience. Photo: Bettina Nissen; (c, d) Currency After Money installation. Photo: Yuxi Liu; (e, f) Alternative Rates of Exchange installation. Photo: Bob Moyler 131 9.1 Lifestreams by Proboscis (2012) installed in the group show, The New Observatory. FACT, Liverpool (2017). Image: Gareth Jones 145 9.2 Lifestreams, Parkinson’s Disease Lifecharms by Proboscis (2016). Photo: Alice Angus 147 10.1 Climate Clock (2019). Designer: Ka Leng Kong. Photography: Ka Leng Kong 155 10.2 Disruption: The Materiality of Global Temperature (2018); (a) sculpture in OCAD University’s Great Hall; (b) detail of object representing the year 2016. Designer: Paz Pereira-Vega. Photography: Paz Pereira-Vega 158 FIGURES ix 10.3 Burning Acres (2018). Designer: Kathleen Stever. Photography: Nicole Torres and Karin von Ompteda 161 11.1 Bento Box. Top-left: Digital visualizations of blood flow in the right atrium use animation to make it possible to see the flow develop over time and interactive techniques to select and filter the data. Bottom-left: Physical representations provide the most solid understanding of the 3D form, where it is possible to encode additional data variables ‘on top of’ the form using a pattern of data glyphs, but these physical printouts are inherently static. Right: Optimal understandings of the data may come from a hybrid construct that combines the best of both strategies. Image credit: Interactive Visualization Lab, University of Minnesota-Twin Cities 173 11.2 Initial hybrid design studies focus on bringing the interactivity that works so well in digital spaces to physical data constructs. Image credit: Interactive Visualization Lab, University of Minnesota-Twin Cities 177 12.1 (a) Parametric tuning fork programmed in OpenJSCAD (Barrass 2015); (b) Parametric Tuning Forks (Barrass 2021); (c) Tuning Fork and Variations (Barrass 2014) 186 12.2 (a) 3D printed Bells in Steel, Brass and Bronze (Barrass 2021); (b) Binaural Data Bells (Barrass 2021) 188 12.3 (a) Tibetan Singing Bowl cast in Bronze (Barrass 2021); (b) Blood Pressure Singing Bowl with profile mapping (Barrass 2021); (c) Hypertension Singing Bowl (Barrass 2021); (d) Chemo Singing Bowl with Bezier spokes (Barrass 2021) 190 13.1 (a, b) Initial software sketches; (c, d) Paper prototypes with hand annotations; (e) Laser fabrication and material tests; (f) ANU Climate Change Institute Canberra Climate Update, February 2018; (g) Canberra 2017 Climate Coaster. All works and images by Mitchell Whitelaw (a–d) and Geoff Hinchcliffe (e–g) 198 13.2 (a, b) Initial sketches testing boundaries for daily and monthly temperature peaks; (c) Finished website; (c1) Locations listed in map and text views. Map points are coloured according to annual average temperature; (c2) Timeline shows annual average temperature from 1991 to 2018. Allows selection of different years; (d, e) Exported images; colour version (d) for printing and social media, vector version (e) for laser cutting. All works and images by Geoff Hinchcliffe 201