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Some people call it info porn,” says Manuel Lima, the designer who created Visual Complexity, an online repository for these kinds of projects. “It’s a fascination with the simple fact of visualization.” In the decade since Edward Tufte released a trifecta of books on good information graphics in the 1990s, the discipline has morphed from the purview of cartographers and computer scientists into an aspirational field for young designers and honey for fickle consumers. |
✖ Via Print Mag: “The Irresistible Appeal of Info Porn” by Cliff Kuang
“Cliff Kuang is a regular contributor to Print. He is a former editor at Harper’s, The Economist, and I.D., and writes regularly for Popular Science, Wired, and Fast Company.” |
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Jun 26 link notes
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For the epistemologist, the notion of ‘application’ in an expression such as ‘applied psychoanalysis’ is simply flabby. It would seem to imply that a body of theory, more or less rigorously formulated, can be applied without modification to a set of data or to a field of study (in this case, works of art) different from that for which it was constructed (the set of psycho-neurotic symptoms and abnormal psychic phenomena). If this were so, the two domains would be indistinguishable; if they are not, then the attempt at application requires modifications that, however trivial, make that body of theory different from what it was in its first ‘state’. |
✖ Via “Beyond Representation” by Jean-François Lyotard, tr. by Jonathan Culler, reproduced in The Lyotard Reader, edited by Andrew E. Benjamin, Wiley-Blackwell, 1989, p. 155 About The Lyotard Reader:
“Jean-Francois Lyotard was one of the founding members of the College Internationale de philosophie. Ha has taught at Vincennes, Saint Denis and is currently Professor of Philosophy at the University of California at Irvine. Several of his books have appeared in English, notable The Postmodern Condition, Just Gaming and The Dirrerend.The Lyotard Reader is a collection of Jean-Francois Lyotard’s most important and significant papers to date. While they are all written from within philosophy, they seek to address subjects as wide-ranging as film, painting (Adami, Francken, Newman), psychoanalysis, Judaism and politics. The originality of Lyotard’s work means that it can not be readily situated within any one philosophical tradition. Instead he returns philosophy itself to debates across a range of areas and, in so doing, redefines the philosophical enterprise.A number of chapters in The Lyotard Reader appear for the first time in English. This is the most comprehensive collection available of Lyotard’s work, work has profoundly influenced debates on the Enlightenment, on modernity, on postmodernity, on the transmission f information, on literary theory and on philosophy.” (more) |
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May 27 link notes
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TWO centuries after Gutenberg invented movable type in the mid-1400s there were plenty of books around, but they were expensive and poorly made. In Britain a cartel had a lock on classic works such as Shakespeare’s and Milton’s. The first copyright law, enacted in the early 1700s in the Bard’s home country, was designed to free knowledge by putting books in the public domain after a short period of exclusivity, around 14 years. Laws protecting free speech did not emerge until the late 18th century. Before print became widespread the need was limited. Now the information flows in an era of abundant data are changing the relationship between technology and the role of the state once again. Many of today’s rules look increasingly archaic. Privacy laws were not designed for networks. Rules for document retention presume paper records. And since all the information is interconnected, it needs global rules. New principles for an age of big data sets will need to cover six broad areas: privacy, security, retention, processing, ownership and the integrity of information. |
✖ Via The Economist: “A special report on managing information: New rules for big data”, Feb 25th, 2010. |
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Paul Stiff, a reader in typography and graphic communication at the University of Reading in the United Kingdom, studies information design, and he is fascinated by these fragments of “demotic” wayfinding. Stiff has been accumulating homespun maps for three decades now. One of his very first finds: a map picked up from the floor of a corridor at his work, something that was “literally, a back-of-the-envelope sketch. Stiff believes that we amateurs have something to teach the pros. Our maps are efficient—they edit out unnecessary information. |
✖ Via Slate: “Do You Draw Good Maps?” by Julia Turner, March 4, 2010 This article is part of an ongoing series by Julia Turner focusing on “The Secret Language of Signs”.
Previously on Skandalon: maps. |
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Mar 11 link notes reblogged from Bobulate
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