#visualization data

For the second episode of Anatomy of an Artist, Japanese audio-visual artist Ryoji Ikeda invites the audience into his new immersive exhibition in London. 180 The Strand plays host to the largest European survey of Ryoji’s work in a self-titled show presented by The Vinyl Factory and Fact, in collaboration with Audemars Piguet Contemporary... continue reading on https://o6g7.app.link/0hC37FSaxhb

In mid-19th-century America, one of the biggest social issues was slavery. And it was slavery that propelled some of the country’s most remarkable data visualizations: “slave maps.” When Southern states began to secede in 1860 and 1861, Union forces invaded Virginia to try to beat back the secessionists. But where should they concentrate their forces? In the midst of the fighting in June 1861, the federal government’s Coast Survey department produced a fascinating map of Virginia that suggested a strategy. Using data from the latest census, the map showed the concentration of slaves in each county of Virginia: The darker the county, the higher the percentage of the population enslaved. One trend immediately jumped out: eastern Virginia was the hotspot of slavery. The western region was comparatively slave-free. This suggested that the west would care less about fighting to preserve slavery; indeed, it might even switch sides and join the Unionists. The map was a deeply political data visualization, points out Susan Schulten, a historian at the University of Denver and author of Mapping the Nation. It was trying to show that only a relative minority of Virginians supported—and benefited from—slavery. It suggested military strategy, too: Try to pit the west against the east. “It was a breakthrough map,” Schulten notes. “It was an attempt to influence how the government saw the nation, and how the military understood it. It drove Lincoln’s attention to where slavery was weakest.”

All corporations must create and file their corporate annual reports every year for their shareholders. There are some corporations that will only meet that basic need of providing the necessary financial statements and not put any thought to create a compelling and a creative report.

"Kenneth Cukier, data editor at The Economist, thinks we are “at the outset of a new movement in art that is built around data.” Digital information is now doubling every two years, he says, so it’s natural for artists to gravitate toward using data as a medium. Antonelli, the MoMA curator, sees it as a case of “people needing to make sense of data.” This accounts for why, she says, data viz has become “an established form of design and an absolutely important one.” But only in the past ten years, in the estimation of Shenai’s tutor, Karin von Ompteda; in this time the use of data visualisation in art and design has “exploded,” she says. And this “big data” revolution is already changing the way new programmes like IED (in its second year) are structured. “The training of the artist is changing,” says von Ompteda. “Programming is part of the curriculum now. Working with spreadsheets and numbers and statistics—that’s a huge shift.” The Masters in Art and Science at Central St Martins, a leading art school in London, uses similar techniques. Von Ompteda says that including some data techniques in the art curriculum is now considered “mainstream” among universities worldwide."