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    <description>recent bookmarks from shannon_mattern</description>
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    <title>Open Visualization Academy</title>
    <dc:date>2026-01-30T16:13:40+00:00</dc:date>
    <link>https://openvisualizationacademy.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A free repository of knowledge about information design, data visualization, and data literacy]]></description>
<dc:subject>information_design digital_literacy data_visualization graphic_design pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:179984e6600e/</dc:identifier>
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<item rdf:about="https://harpers.org/archive/2026/02/sight-and-sound-olivia-giovetti-graphic-scores/">
    <title>Sight and Sound, by Olivia Giovetti</title>
    <dc:date>2026-01-27T14:24:14+00:00</dc:date>
    <link>https://harpers.org/archive/2026/02/sight-and-sound-olivia-giovetti-graphic-scores/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In an essay from 1927, the American composer Henry Cowell identified certain shortcomings of Western musical notation. The system could supply “the bare details of the pitch and rhythm of conventional modes,” he wrote, “but little else.” It failed entirely to “convey a subtle tonal effect of any description,” or to accurately notate quarter tones and complex cross-­rhythms. Cowell envisioned a more expansive approach to composition: “A notation should express the sound to the eye with as great a degree of graphical perfection as possible.” One of his innovations was a diamond-­shaped note divisible into sevenths rather than fourths; another appeared as a triangle with a slash through it, dividing notes into thirteenths. Cowell’s ideas gained favor among his students at the New School, including the musicians John Cage and Earle Brown, who helped pioneer the contemporary graphic score. Resembling early-­Renaissance “eye music”—­a form of composition that frequently used color or shape to communicate musical qualities—­the graphic score often eschews five-­line notation, relying instead on images, symbols, and text. Some graphic scores are relatively prescriptive, stipulating rhythms, dynamics, and melody in a manner not unlike conventional scores. Others, however, leave much to the discretion of the performer. This score, “Migration,” composed in 2023 by the Palestinian-­American musician Muyassar Kurdi, is one such example....

To compose “Scoring the Tweet(s)” (2018), Warren Neidich rearranged 196 of Donald Trump’s posts that reference “fake news”; Raven Chacon’s “American Ledger No. 2” (2019) uses inflamed notes to reflect the forced migrations of black and Native communities in Tulsa, Oklahoma; and the scores for Gwen Siôn’s Atlantis 2050 (2025) resemble coastal-­erosion diagrams. “Migration,” which is part of the longer work A Daughter of Isis—­named for the Egyptian author Nawal El Saadawi’s 1999 autobiography—­explores the inheritances and losses of the Arab diaspora, to which Kurdi is connected through her father, a Palestinian born in exile. This theme emerges in the lines that dominate the right side of the score, which are darker and more tightly clustered than those on the left. Kurdi describes the motif of these darker lines as an “almost obsessive” repetition that “reflects the ongoing experience of migration—­the movement, the dislocation, the repeated ruptures.” ]]></description>
<dc:subject>scores music sound notation data_visualization</dc:subject>
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    <title>Size of Life</title>
    <dc:date>2025-12-24T01:56:03+00:00</dc:date>
    <link>https://neal.fun/size-of-life/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>interaction_design data_visualization scale</dc:subject>
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<item rdf:about="https://www.marieneurath.org/">
    <title>Marie Neurath – Picturing Science</title>
    <dc:date>2025-07-22T21:49:36+00:00</dc:date>
    <link>https://www.marieneurath.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Marie Neurath (1898–1986) was a ground-breaking graphic designer. She analysed complex information and transformed it into concise explanations that combined words and pictures.

Her work as a transformer started in Vienna in the 1920s when she began collaborating with Otto Neurath. The method of visual explanation they and others developed became known as ‘Isotype’ (International System of Typographic Picture Education). Otto and Marie Neurath established the Isotype Institute in 1942 after they escaped to England from Nazi-occupied Europe.]]></description>
<dc:subject>books childrens_books data_visualization illustration how_tos manuals science neurath</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=UPXRNJcMZlk">
    <title>Conversation Series: Reimagining Du Bois - YouTube</title>
    <dc:date>2025-07-02T01:11:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UPXRNJcMZlk</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Reimagining Du Bois: Data Portraits and Contemporary Print with William Villalongo, Shraddha Ramani and Tiffany Barber

Artist William Villalongo and urbanist Shraddha Ramani talk with scholar and curator Tiffany Barber about their collaborative portfolio Printing Black America: Du Bois’s Data Portraits in the 21st Century in which the duo reimagines W.E.B. Du Bois’s iconic 1900 data visualizations that explained institutionalized racism to the world. These transformed visualizations recast Du Bois's distillations and interrogate contemporary Black life. The production of the prints was shared across six print publishers, including Powerhouse Arts Printshop.
]]></description>
<dc:subject>dubois print blackness data_visualization</dc:subject>
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    <title>Seneca Village, Envisioned - Urban Omnibus</title>
    <dc:date>2025-06-13T01:15:54+00:00</dc:date>
    <link>https://urbanomnibus.net/2025/06/seneca-village-envisioned/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Gergely Baics, Meredith Linn, Leah Meisterlin, and Myles Zhang, whose fields of expertise span archeology, GIS, cartography, architecture, and urban history, developed Envisioning Seneca Village to correct, and create, a public record. No known images of Seneca Village exist. Meanwhile, on the internet, where most people get their information, one can find historical images of run-down “shanties,” falsely identified as belonging to Seneca Village. They perpetuate the idea that the community had no value, originally marshaled to justify its destruction. For their evidence-based reconstruction, the team extrapolated from diverse sources: census records, land survey maps, archeological digs, and more. Where the historical record fell short, they engaged in “informed speculation,” a unique methodology of carefully developed and rigorously documented inferences that fill in the texture of everyday life, from fences to clotheslines. Below, the authors walk us through their interactive digital commemoration, and how they drew the lines around evidence and inference. In an era of AI hallucinations and misinformation, they also offer a model of ethical visualization, privileging evidence over myth, and memory over erasure.
]]></description>
<dc:subject>mapping blackness erasure nyc data_visualization archaeology</dc:subject>
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<item rdf:about="https://www.fondazioneprada.org/project/diagrams/?lang=en">
    <title>DIAGRAMS - Fondazione Prada</title>
    <dc:date>2025-04-29T14:08:26+00:00</dc:date>
    <link>https://www.fondazioneprada.org/project/diagrams/?lang=en</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“Diagrams” is an exhibition project conceived by AMO/OMA, the studio founded by Rem Koolhaas, for the Fondazione Prada Venice venue, Ca’ Corner della Regina, investigating the visual communication of data as a powerful tool for constructing meaning, comprehension or manipulation and a pervasive instrument for analyzing, understanding and transforming the surrounding world. It seeks to foster dialogue and speculative reflection on the relationship between human intelligence, scientific and cultural phenomena, and the creation and dissemination of knowledge.

The exhibition, on view on the ground and first floors of the 18th-century Palazzo Ca’ Corner della Regina, gathers more than 300 items, including rare documents, printed publications, digital images, and videos, spanning from the 12th century to the present day and related to various geographical and cultural contexts. This material is displayed according to a thematic principle that reflects not only contemporary world urgencies but also, de facto, demonstrates the diagram’s transversal and diachronic nature. The exhibition system, designed by AMO/OMA according to the “now urgencies” principle, is structured according to nine primary topics: Built Environment, Health, Inequality, Migration, Environment, Resources, War, Truth, and Value. These themes are illustrated in the central room of the first floor in a series of vitrines arranged in parallel to one another.]]></description>
<dc:subject>diagrams data_visualization design_research</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://columbia.academia.edu/HannahPivo">
    <title>Hannah Pivo | Columbia University - Academia.edu</title>
    <dc:date>2025-04-06T17:22:47+00:00</dc:date>
    <link>https://columbia.academia.edu/HannahPivo</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This article takes Chermayeff & Geismar Associates' cover designs for a paperback reprint series, "Studies in American Negro Life" (1968-c. 1972), as a starting point for investigating the history of the dot as a tool for social-statistical visualization. It first situates the series-which reissued texts on Black history, sociology, and literaturewithin the context of 1960s urban unrest in the United States and shows how the arrangements of dots on each cover relate to contemporaneous experiments in urban cartography. It then traces a longer genealogy, considering the dot in relation to the 19 th-century emergence of "society" and "the social" as novel epistemic concepts that came to serve as the primary objects of study for the modern social sciences in the 20 th century. I address the integral role of statistics in this history, demonstrating how the logic of aggregation that undergirds statistical thinking has been habitually visualized through the dot. The article concludes by returning to the book series, addressing some of the individual covers and arguing that by evoking the visual vocabulary of the social sciences, the cover designs frame the series as a social scientific project overall.

In 1947, Czech designer Ladislav Sutnar and Danish architect Knud Lönberg-Holm published three articles in Interiors magazine introducing their theories of modern visual communication to the professional design community in the United States. These articles, subsequently released together as "Designing Information," were informed by the authors’ work at Sweet's Catalog Service, a dominant publisher of industrial catalogs at the time. At Sweet's, Lönberg-Holm and Sutnar developed standards for product information centered on the concept of “visual flow.” This article examines vision and flow in "Designing Information," analyzing how the authors applied ideas from diverse realms of midcentury discourse—including visual education, Gestalt, and Behaviorist psychologies—to the context of American business and industry.]]></description>
<dc:subject>graphic_design design_history data_visualization nyc</dc:subject>
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<item rdf:about="https://ksmallgallery.com/blogs/events/dramatizing-the-curve-graphic-design-meets-data-visualization?mc_cid=90ff5b9ae8&amp;mc_eid=6c19a84073">
    <title>Dramatizing the Curve: Graphic Design Meets Data Visualization – Katherine Small Gallery</title>
    <dc:date>2025-04-06T17:06:59+00:00</dc:date>
    <link>https://ksmallgallery.com/blogs/events/dramatizing-the-curve-graphic-design-meets-data-visualization?mc_cid=90ff5b9ae8&amp;mc_eid=6c19a84073</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the late 1910s and 1920s, the professional practice of “graphic design” emerged in the United States as a new mode of creating printed matter. At the same time, corporations came to rely on data visualizations, especially line graphs, as tools to help guide their business decisions. Graphs began to appear in advertisements aimed at business professionals as a result, and before long those ads were “dramatizing the curve” in ways that largely disregarded data itself. By examining this early encounter between graphic design and data visualization, Hannah considers how we came to recognize certain kinds of lines as “graphs” even when they don’t represent a single data point. ]]></description>
<dc:subject>data_visualization graphic_design data misinformation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:43a92d2d20be/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:misinformation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://stircrazycrafter.com/2024/12/31/exploring-my-2024-embroidery-journal-month-by-month/">
    <title>Exploring My 2024 Embroidery Journal Month by Month - The Stir-Crazy Crafter</title>
    <dc:date>2025-01-20T17:14:18+00:00</dc:date>
    <link>https://stircrazycrafter.com/2024/12/31/exploring-my-2024-embroidery-journal-month-by-month/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Everyday, I embroider an icon that represents my day. Whether that be a stack of pancakes because of what I had for breakfast, bunny ears because I planned an Easter Egg hunt at work, or even a frowny face because I had a rough day. At the end of the year, I accumulate 365 (or 366) icons on my 12 inch embroidery hoop. While 2024 started out quite slow, it steadily picked up as the pieces fell into place for my future.

This year was my fifth year creating an embroidery journal. At this point, I’ve embroidered over 1,800 icons across my journals. I’m so proud of the fact that I’ve managed to stick with something for such a long period of time. It’s been wonderful watching as my embroidery skills have increased and my life has progressed. ]]></description>
<dc:subject>textiles embroidery data_visualization data_visceralization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6f4b535cc9de/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:embroidery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visceralization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://blogs.loc.gov/maps/2024/11/is-it-a-map-unusual-graphics-in-the-geography-and-map-division/">
    <title>Is It a Map?! – Unusual Graphics in the Geography and Map Division | Worlds Revealed</title>
    <dc:date>2024-12-08T06:11:05+00:00</dc:date>
    <link>https://blogs.loc.gov/maps/2024/11/is-it-a-map-unusual-graphics-in-the-geography-and-map-division/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Sometimes in our collection of 6 million maps, I run across an item that is so unusual that it makes me stop and ask myself, “is this really a map?” When one thinks of a map, the most typical response is to think of something that shows the land or sea that depicts such things as cities, roads, and natural features. However, another definition as given by the Merriam Webster dictionary is “a diagram or other visual representation that shows the relative position of the parts of something.” And by that definition, I believe the items from our collection featured below, though unusual, are most certainly maps, but you can judge for yourself!

The first unique map I am astounded by is this 1827 “Compendious chart exhibiting, at one view, the names of about thirteen hundred of the principal ports and places in the world, with their bearings per compass, and their distances expressed in geographical miles, from the city of Washington.” That is a lot of information in one graphic!]]></description>
<dc:subject>maps data_visualization graphic_design design_history typography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:75867162b200/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:design_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:typography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.datacult.com/about">
    <title>About</title>
    <dc:date>2024-10-30T18:25:00+00:00</dc:date>
    <link>https://www.datacult.com/about</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[We help the organizations we love solve their most important challenges through data.

Our collaborative and inclusive approach is based on two fundamental beliefs of our co-founders Gabi Steele and Leah Weiss.

First, data maturity is a journey, not a destination. Second, people are the key to activating the power of data. In tandem with implementing modern data technologies, we create the cultural shift required to establish and enrich your data practice.]]></description>
<dc:subject>data methods data_visualization methodology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c77cc6a54825/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methods"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pioneerworks.org/broadcast/darwin-tree-of-life-rachel-delue">
    <title>Picture This: Darwin's Diagram | Broadcast</title>
    <dc:date>2024-10-17T14:24:01+00:00</dc:date>
    <link>https://pioneerworks.org/broadcast/darwin-tree-of-life-rachel-delue</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I read Origin for the second time almost two decades later, as a scholar of art history and visual culture, studying works of art and other kinds of images in Europe and the Americas from the eighteenth century to the present. Much of my research considers how art-making and scientific inquiry intersected in this period—how knowledge in the sciences shaped the ways artists and their audiences envisioned their world, and how scientists used images to generate and communicate novel ideas and theories. This time around, I noticed Darwin’s diagram and paid close attention. A more careful reader in my forties than I was in my twenties, I understood that Darwin’s explanation of the diagram elucidates one of the most important principles of his theory: divergence of character. If natural selection describes how species originate, diverge, and become extinct—thereby accounting for the history and diversity of organic life—divergence of character explains, first, how small differences among varieties of organisms in a group can eventually lead to the existence of new species and, second, the critical importance of significant or extreme variation for those species’ survival. The finches of the Galápagos Islands most famously demonstrate divergence of character, even if they did not initially inspire the idea. Closely related but distinct species, the finches are differentiated by the size and depth of their beaks. These differences arose through the selection of specific traits that decreased competition among the birds and enabled many varieties of finch to coexist. Because each variety of bird consumed a different type of seed, as befitting the form of its beak, there was enough food to go around....

the diagram undertakes an impossible task—impossible because evolution as Darwin conceived it presented a near-insurmountable problem for representation in the nineteenth century. Science in Darwin’s time gave rise to radically new ideas about existence, and this new knowledge created something like a crisis of picturing, with tried-and-true methods of visualization, conventionally mimetic in nature, coming up short. Time presented a special problem for scientific images. Just as the Copernican Revolution had displaced Earth from the center of the universe and Darwin’s own theory of evolution would go on to remake the human as just another animal among countless other beasts, geology and the closely related disciplines of paleontology and archaeology radically expanded the timescale of the earth while drastically reducing humanity’s share in its chronology. Deep time, in turn, introduced a very big problem of visibility. “The mind cannot possibly grasp,” Darwin wrote in Origin, “the full meaning of the term a hundred million years; it cannot add up and perceive the full effects of many slight variations, accumulated during an almost infinite number of generations.” What is more, “we see nothing of these slow changes in progress, until the hand of time has marked the long lapse of ages, and then so imperfect is our view into long past geological ages, that we only see that the forms of life are now different from what they formerly were.”...

Given this, I cannot help but think that Darwin’s diagram bears the burden of Darwin’s doubt. It begins in thin air, with a collection of unanchored, dangling lines. And it ends, at the top of the fold-out page, with a spare collection of lines, dashes, letters, and numbers. The spaces between each of the dots in the branching lines indicate a temporal interval. But as a series of empty spaces or blanks, they also conjure absence, as in the absence of seeing or knowing.]]></description>
<dc:subject>trees diagrams darwin classification data_visualization doubt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d1f4707e6243/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:darwin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:doubt"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://datavandals.com/">
    <title>Data Vandals</title>
    <dc:date>2024-09-13T13:19:32+00:00</dc:date>
    <link>https://datavandals.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Our society looks at the world through data, but data doesn’t have to live in a dusty database, it can come alive on city streets, galleries, museums and parks.

We present data in interesting, exciting, and revolutionary new ways, stopping people in their tracks and making them want to learn more.

]]></description>
<dc:subject>data_visualization methodology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:48af023c75dd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://periodictableoftools.com/">
    <title>Periodic Table of Tools</title>
    <dc:date>2024-09-01T04:04:52+00:00</dc:date>
    <link>https://periodictableoftools.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>tools data_visualization tables</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ffc77291e4f2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tables"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://startwords.cdh.princeton.edu/">
    <title>Startwords</title>
    <dc:date>2024-08-08T14:57:53+00:00</dc:date>
    <link>https://startwords.cdh.princeton.edu/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Startwords is a research periodical irregularly published by the Center for Digital Humanities at Princeton. More formal than a blog yet more speculative and iterative than a peer-reviewed journal, Startwords is a forum for experimental humanities scholarship. Embedded code, data physicalizations, design, and emerging forms of process documentation are detailed through writing that is essayistic, creative, and research-driven.

Each issue features two or more features that speak to a common theme, feature, or concern. “Snippets” invite readers to engage with the digital evidence underlying those articles. Issues will be released one to three times a year, when we have something to share or say.]]></description>
<dc:subject>open_access journals tools research methodology advising UMS code data_visualization data_visceralization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1542586fa2e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:open_access"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:journals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:advising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:UMS"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:code"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visceralization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.guggenheim.org/artwork/artist/amalia-pica">
    <title>Amalia Pica | The Guggenheim Museums and Foundation</title>
    <dc:date>2024-07-23T01:58:19+00:00</dc:date>
    <link>https://www.guggenheim.org/artwork/artist/amalia-pica</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Central to Pica’s work is the problem of communication, which she explores by setting everyday objects alongside obsolete technologies such as shutter telegraphs, slide projectors, and 16 mm film. Yet while her interest is in language, and in the mechanisms by which communication is attempted, most of her projects are silent. She compensates for this apparent lack by adding texts that elucidate the missing parts. Venn Diagram (under the spotlight) (2011), for example, consists of two overlapping circles of colored light projected from theatrical spotlights. In accompanying captions, the artist explains how the dictators of the 1970s banned Venn diagrams and the set theory they illustrate from Argentina’s schools, viewing them as potentially subversive at a time when citizens were being prosecuted for gathering in public. Reflecting further on the branch of mathematics that analyzes and depicts group dynamics, Pica presented an installation and performance titled A ∩ B ∩ C (read as “A intersection B intersection C”) at the Museo Rufino Tamayo in Mexico City in 2013. It featured performers holding up colorful, acrylic shapes in unexpected combinations, applying the mathematical rules of intersection. Returned to the walls at the performance’s conclusion, the shapes seemed endowed with a new and subversive communicative potential....

Pica highlights the significance of listening and interpretation in installations such as Eavesdropping (2011), in which drinking glasses are affixed to the wall in an evocation of the age-old snooping technique, and Switchboard (pavilion) (2013), in which the familiar improvised tin-can-and-string telephone is rendered useless by a mass of tangled cords. The artist’s use of antiquated technologies thus emphasizes the ironic possibilities for miscommunication between artist and spectator. ]]></description>
<dc:subject>diagrams data_visualization communication media_archaeology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:bccd9881ca28/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:communication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://variablewest.com/event/performances-subversive-mathematics-the-outlawing-of-venn-diagrams-in-1970s-argentina/#:~:text=Subversive%20Mathematics%3A%20The%20Outlawing%20of%20Venn%20Diagrams%20in%201970's%20Argentina,-by%20Adelaide%20Blair&amp;text=253,Venn%20Diagrams%20in%201970's%20Argentina">
    <title>Subversive Mathematics: The Outlawing of Venn Diagrams in 1970’s Argentina</title>
    <dc:date>2024-07-23T01:54:06+00:00</dc:date>
    <link>https://variablewest.com/event/performances-subversive-mathematics-the-outlawing-of-venn-diagrams-in-1970s-argentina/#:~:text=Subversive%20Mathematics%3A%20The%20Outlawing%20of%20Venn%20Diagrams%20in%201970's%20Argentina,-by%20Adelaide%20Blair&amp;text=253,Venn%20Diagrams%20in%201970's%20Argentina</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Adelaide Blair invites you to a performance of Subversive Mathematics: The Outlawing of Venn Diagrams in 1970’s Argentina. It is about the Argentinian Dirty War, the subsequent outlawing of Venn diagrams, and the disappearing of people and ideas. Can things be unthought through the sheer force of a government’s will? Is logic subversive? Can harmony be restored by removing all traces of an offending person or material? How far should you go to preserve power if you believe the future of your country is at stake? This event is free and open to the public.

Subversive Mathematics takes place in person at 3:00 pm on Sunday, June 2nd, 2024 at Common Area Maintenance, 2125 2nd Ave, Seattle.]]></description>
<dc:subject>data_visualization diagrams politics war</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d9948b8c8960/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:war"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://calculatingempires.net/">
    <title>Calculating Empires</title>
    <dc:date>2024-06-23T16:38:56+00:00</dc:date>
    <link>https://calculatingempires.net/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[ How can we understand the operations of technology and power in our era? Our technological systems are increasingly complex, interconnected, automated and opaque. Social institutions, from schools to prisons, are becoming data industries, incorporating pervasive forms of capture and analysis. Even places that were once off-limits to capital, from our emotional expressions to outer space, are now subject to computational control and extraction. Meanwhile, the industrial transformations in AI are concentrating power into even fewer hands, while accelerating polarization and alienation. If we are to address the urgent challenges of the contemporary time - including technocratic fascism, climate catastrophe, colonial wars, and wealth inequality - we need to contend with the interwoven nature of their histories. In order to have a future, we must first confront our past.

Calculating Empires is a large-scale research visualization exploring how technical and social structures co-evolved over five centuries. The aim is to view the contemporary period in a longer trajectory of ideas, devices, infrastructures, and systems of power. It traces technological patterns of colonialism, militarization, automation, and enclosure since 1500 to show how these forces still subjugate and how they might be unwound. By tracking these imperial pathways, Calculating Empires offers a means of seeing our technological present in a deeper historical context. And by investigating how past empires have calculated, we can see how they created the conditions of empire today. ]]></description>
<dc:subject>technology media_history data_visualization computing_history timelines colonialism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f784efe1227e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computing_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:timelines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/architecture/spatial-computing/604501/unpredictable-atmosphere/">
    <title>Spatial Computing - Lucia Rebolino - Unpredictable Atmosphere</title>
    <dc:date>2024-06-18T13:27:44+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/spatial-computing/604501/unpredictable-atmosphere/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This is perhaps best represented by the forecast cone, a graphic tool in weather prediction designed to communicate what and who is in a storm’s path, and, as a consequence, how quickly communities must act. The boundaries of the cone are designed to include the area within which the storm’s path is predicted to go. The cone widens as forecasters look further ahead, indicating more uncertainty in the expected path of the storm.

So much depends on our ability to forecast the weather—and, when catastrophe strikes, on our ability to respond quickly. An architecture of forecasting is crucial for providing accurate and timely weather information and collecting essential weather and climate data. Meteorological research organizations gather weather data by measuring the vibration of water vapor particles in the atmosphere. While visible or infrared satellite imagery aids in weather forecasts, it is microwaves, specifically in the range of 20 to 200 GHz on the electromagnetic spectrum, that provide the most critical information for meteorological analysis. Polar-orbiting satellites, equipped with highly sensitive sensors, like microwave sounders, detect these vibrations, and are optimized for the 23.8–24 GHz frequency bands, due to the natural resonance of water vapor at these frequencies....

The 24 GHz band falls within the millimeter wave spectrum, which allows for high-speed data transmission. It has therefore recently attracted the attention of telecommunications companies who are building wireless communications networks. These companies have begun utilizing this spectrum band for new “high-band” 5G networks, which disrupt the collection of atmospheric data. The critical proximity between weather observation and telecommunications technologies on the electromagnetic spectrum has resulted in political conflicts over the use of these open bands, and created a space of uncertainty about the limits of our ability to predict future climate]]></description>
<dc:subject>weather modeling data_visualization mapping forecasting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:30ee59e51125/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:weather"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:modeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forecasting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dataxdesign.io/">
    <title>Data by Design</title>
    <dc:date>2024-05-17T15:47:07+00:00</dc:date>
    <link>https://dataxdesign.io/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Interactive History of Data Visualization 

Data visualization is not a recent innovation. Even in the eighteenth century, activists and economists, as well as educators and politicians, were fully aware of the power of visualization to produce new knowledge.

But who, more precisely, was wielding this power? On whose behalf? And for whose benefit? The answers to these questions are what this project explores.

By retelling the history of data visualization alongside the histories of colonialism and slavery, we show how questions of ethics and justice have always been present—and continue to offer lessons to viewers and designers of data visualizations today.]]></description>
<dc:subject>data_visualization data_history mapping indigenous</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fa3875d7b17a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.samrabiyah.com/">
    <title>sam rabiyah</title>
    <dc:date>2024-02-23T00:53:09+00:00</dc:date>
    <link>https://www.samrabiyah.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Sam is a journalist and multidisciplinary technologist based in NYC. He works at the intersection of investigative reporting, counter-mapping, data visualization, and oral history to make information more actionable to movement-based organizers and the public.

He's currently a senior researcher & technical lead at SITU and a democracy machine fellow at Eyebeam. ]]></description>
<dc:subject>mapping data_visualization real_estate housing eviction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8aa5bde41cfd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:real_estate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:housing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eviction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://jarrettley.com/">
    <title>Home - Jarrett Ley</title>
    <dc:date>2024-02-17T17:37:25+00:00</dc:date>
    <link>https://jarrettley.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_visualization forensics journalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7c7e700649ed/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forensics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:journalism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/Lett_Arc/status/1560121637910958080">
    <title>Letterform Archive on X: &quot;(1) Frederick Robertson, (2) Robert Kostka, (3) S. F. Peterson, and (4) William Frankel, drawings in response to a musical motif and its diverse modifications. As seen in Designs to Music by Margit Varro (author) and Herbert Pinz</title>
    <dc:date>2023-10-08T01:30:14+00:00</dc:date>
    <link>https://twitter.com/Lett_Arc/status/1560121637910958080</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[(1) Frederick Robertson, (2) Robert Kostka, (3) S. F. Peterson, and (4) William Frankel, drawings in response to a musical motif and its diverse modifications. As seen in Designs to Music by Margit Varro (author) and Herbert Pinzke (designer, Apprentice House, Chicago, 1952.]]></description>
<dc:subject>design illustration music data_visualization pedagogical_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b6a83cf6fad9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogical_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.beautifulpublicdata.com/the-united-states-radio-frequency-allocation-chart/">
    <title>The United States Frequency Allocation Chart</title>
    <dc:date>2023-10-06T00:53:02+00:00</dc:date>
    <link>https://www.beautifulpublicdata.com/the-united-states-radio-frequency-allocation-chart/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Federal Communication Commission (FCC) and the National Telecommunications and Information Administration (NTIA) share the task of managing the allotment of radio frequencies for U.S. airwaves. The NTIA manages Federal all radio applications (including military uses), while the FCC manages everything else including state and local government, commercial and amateur radio use.

The airwaves floating across America are sliced up into chunks (some wide, some incredibly narrow) where different services and uses are permitted to broadcast and receive radio signals....

One of the coolest documents that the U.S. Government prints. The United States Frequency Allocation Chart. Source: NTIA

It is an incredibly complex system, and to help with the job of explaining the importance of managing this invisible natural resource, the NTIA publishes this wall chart ]]></description>
<dc:subject>radio spectrum data_visualization media_space infrastructure ether</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:70fc5621ef4e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:spectrum"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ether"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/daily-heller/the-daily-heller-herbert-bayer-leaves-his-mark-on-the-globe/">
    <title>The Daily Heller: Herbert Bayer Leaves His Mark on the Globe – PRINT Magazine</title>
    <dc:date>2023-09-17T05:55:09+00:00</dc:date>
    <link>https://www.printmag.com/daily-heller/the-daily-heller-herbert-bayer-leaves-his-mark-on-the-globe/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I came to Bayer’s atlas by way of Isotype—the approach to visual education that originated in the 1920s at the Social and Economic Museum in Vienna, under the direction of the social scientist Otto Neurath. I had written a doctoral dissertation about the artists who’d worked with Neurath during this period to develop this approach to information design (known then as the “Vienna Method of Pictorial Statistics”). While researching the topic, I became curious about the many designers outside Neurath’s core team who, beginning in the ’30s, adopted aspects of the Isotype method in their own work. The list includes some widely recognized figures: El Lissitzky, Willem Sandberg and Ladislav Sutnar, among others. At some point while gathering examples of their Isotype-inspired publications and exhibition designs, I stumbled upon Bayer’s incredible 1953 atlas and immediately wanted to know more about it....

This abundance of historical evidence is largely a result of the creators being so geographically dispersed: Bayer and his team produced the book’s artwork in Aspen, CO; Container Corporation of America (the packaging company that commissioned and privately published the atlas) was based in Chicago, as was Rand McNally, one of the project’s collaborating printers; a second cartographic printer was in Novara, Italy. This long-distance collaboration meant that people couldn’t just speak with each other in person or by phone but had to rely on written correspondence to discuss even the smallest details. The result is that we have a play-by-play record of the atlas’s production, with some really illuminating insights into the thinking and decisions that shaped the finished work...

It was the design that initially drew me in—the atlas’ dramatic opening spreads, the dynamic page layouts, the intriguing mix of playfully arranged found images and carefully drafted charts and diagrams. But as I spent more time with the atlas, I was increasingly impressed by the work’s educational concept, and Bayer’s ambitious vision for it. Beyond serving as a conventional reference work, Bayer hoped that the atlas would serve to cultivate critical map-reading skills, empowering readers to reflect on the roles that cartographers and designers play in shaping and mediating geographical knowledge. He often tried to achieve this by presenting the same information in multiple ways on the same page (showing population data, for example, through maps, rows of countable pictograms and area diagrams), highlighting the advantages as well as the limits of different presentation methods....

In his role as editor and designer, Bayer participated in nearly every aspect of the volume’s production; but it was also the outcome of a collaborative effort and a complex division of labor. In the project’s first phase, from 1947–1949, Bayer worked closely with CCA art director Egbert Jacobson to develop the atlas’ outline. From 1949, Bayer had assistance from graphic designers Henry Gardiner, Masato Nakagawa and Martin Rosenzweig. Together they drafted all the illustrations, diagrams and supplemental maps, while two cartographic publishers (Rand McNally and the Istituto Geografico De Agostini) provided the atlas’ larger topographic maps. For the atlas’ scientific content, Bayer consulted with a long list of experts, who directed him to the latest scholarship and reference works. He also adapted and redesigned illustrations from existing works of popular science (which are inconsistently credited). But decisions about what to include, how to combine material and how to structure the atlas’ narrative sequence—these all reflect Bayer’s vision.

Your second question—about why Bayer saw the need for the atlas—is an interesting one. Because, to some extent, it seems like Bayer was unnecessarily reinventing the wheel with this project. For CCA, the atlas’ publisher, the work was initially conceived as an update to an earlier atlas—also beautifully designed, but more conventional in its concept—which the company had distributed as a gift to its customers in 1936. It was Bayer’s idea to expand the publication’s scope to address a wider range of subjects (astronomy, meteorology, climate, demographics, etc.). And the work’s emphasis on informing and educating also comes from Bayer....

I think the atlas suggests a model for cultivating certain forms of information literacy by presenting data (land elevations and ocean depths, for example) in multiple formats at once. This approach not only provides readers with a richer and multidimensional picture of the information but also encourages readers to consider the graphic means used in the presentations—and to reflect on those presentations’ strengths and limits. I also think the atlas suggests a vision for collaboration between designers and experts in other fields, in which designers—to the extent possible and reasonable—might acquire a relatively sophisticated understanding of the material they are tasked with communicating. ]]></description>
<dc:subject>atlas graphic_design mapping geography container_corporation data_visualization pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c31ce5f33072/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:atlas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:container_corporation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=Di6kP3Y4B9Y">
    <title>“The Realms of Education and Good Taste”: Atlas Design at Container Corporation of America - YouTube</title>
    <dc:date>2023-09-17T05:52:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Di6kP3Y4B9Y</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>herbert_bayer atlas mapping graphic_design container_corporation infographics data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6ac2b3ba3056/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:herbert_bayer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:atlas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:container_corporation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infographics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.journals.uchicago.edu/doi/abs/10.1086/725133">
    <title>Users Gone Astray : Spreadsheet Charts, Junky Graphics, and Statistical Knowledge: Osiris: Vol 38</title>
    <dc:date>2023-07-11T12:36:30+00:00</dc:date>
    <link>https://www.journals.uchicago.edu/doi/abs/10.1086/725133</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This story, which begins from the widely deplored look of the graphing in Microsoft’s spreadsheet program, Excel, and extends back some seventy-five years, is about code that enables users to create visualizations without enough craft—at least in the eyes of their critics. It investigates two facets of data visualization since World War II: iterative analysis through graphical means and the making of business charts concerning numerical data. These two efforts automate some human skills. Both are seen as aberrant, dangerous, and in bad taste when they become too automatic, as users fail to reflect upon defaults. Both activities challenge the binary division between a “nonalgorithmic” culture of human judgments and a contemporary world subjected to hard, unaccountable logics. Telling a story of everyday cultures deemed to have gone bad, this article offers a history of envisioned users shaped through tools that could amplify virtues—and also vices—in thinking, depicting, and acting.]]></description>
<dc:subject>spreadsheets charts data_visualization calculation algorithms tools</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5621446ab985/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:spreadsheets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:charts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:calculation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tools"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://flowingdata.com/2023/06/15/process-243-audience/">
    <title>Chart Practice: Changing the Audience | FlowingData</title>
    <dc:date>2023-06-22T18:33:54+00:00</dc:date>
    <link>https://flowingdata.com/2023/06/15/process-243-audience/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>charts data_visualization design_process</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e80ef52dae85/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:charts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:design_process"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://journals.sagepub.com/doi/full/10.1177/20563051211036064">
    <title>A Conspiracy of Data: QAnon, Social Media, and Information Visualization - Matthew N. Hannah, 2021</title>
    <dc:date>2023-06-20T05:20:57+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/full/10.1177/20563051211036064</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Seeing is believing, so goes the cliché. In our extremely online world, the particular nexus between visual information and political belief has become one of the thorniest challenges to truth. We live in an extremely visual world in which we navigate social media, search engines, platforms, interfaces, icons, memes, and smartphones. Despite the fact that we navigate visual information at an astounding rate, we have not nationally developed literacies to debunk bad information. I argue that we are witnessing a confluence between extremely online, crowd-sourced conspiracies, whose adherents possess a high capacity for online information gathering, and visualization, meant to communicate data about our world effectively and accurately through optical means which has been co-opted for information warfare. Deploying such informatics further legitimates bizarre, unhinged theories about political reality. QAnon, the extremely online conspiracy theory that has cast its shadow over the Internet, relies exclusively on information visualization to communicate its message and is symptomatic of our inability to combat misinformation that mimics the methods of data analysis and information literacy. I argue that QAnon’s success—indeed, its very existence—relies on (at least) two principal factors: (1) QAnon relies, intentionally or no, on a slippage between data and information that obscures the interventions by Q and Q’s anons in leveraging information warfare, and (2) QAnon supports such a slippage with complex and interactive visualizations of bad information, thereby accelerating apophenia, the tendency to see linkages between random events and data points.]]></description>
<dc:subject>data_visualization mapping conspiracy epistemology qanon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1c0529e50467/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:conspiracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:qanon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://clauswilke.com/dataviz/visualizing-uncertainty.html">
    <title>Fundamentals of Data Visualization</title>
    <dc:date>2023-05-11T02:00:09+00:00</dc:date>
    <link>https://clauswilke.com/dataviz/visualizing-uncertainty.html</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>uncertainty data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:283d250de0a2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:uncertainty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://202122.transmediale.de/almanac/dark-optimism-conspiratorial-styles-of-reasoning-for-the-biosphere">
    <title>Dark Optimism: Conspiratorial Styles of Reasoning for the Biosphere</title>
    <dc:date>2023-02-03T08:21:32+00:00</dc:date>
    <link>https://202122.transmediale.de/almanac/dark-optimism-conspiratorial-styles-of-reasoning-for-the-biosphere</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>epistemology conspiracy methodolgy cognitive_mapping data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:05a270a02e24/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:conspiracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodolgy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cognitive_mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pioneerworks.org/broadcast/picture-this-periodic-table?mc_cid=f915a35c8e&amp;mc_eid=031e8250a4">
    <title>Picture This: The Periodic Table | Broadcast</title>
    <dc:date>2023-01-27T16:56:53+00:00</dc:date>
    <link>https://pioneerworks.org/broadcast/picture-this-periodic-table?mc_cid=f915a35c8e&amp;mc_eid=031e8250a4</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[It looms over every chemistry classroom and lecture theatre, two towers bookending serried ranks of compartments rather like the British Houses of Parliament—and with at least as much authority. The Periodic Table is chemistry’s icon, a codification of the entire chemical universe expressing the relationships between the elements from which all ordinary matter is constituted. There are just 92 or so of these natural elements (occasional oddities like technetium, element 43, barely exist in nature because they are so unstable), but scientists have now appended to the roster a gaggle of extra ones, from neptunium (element 93) to oganesson (118), that are wrought artificially in nuclear reactions, the most massive of them living for just an instant before decaying.]]></description>
<dc:subject>data_visualization organization classification periodic_table</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:74ee37e5f419/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:periodic_table"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://fhp.incom.org/project/21283">
    <title>Intersectional Feminist Data Visualization Archive – Exploratory online collection of feminist, anti-racist, decolonial, queer, critical, and/or ethical data visualization research and practices · FHP</title>
    <dc:date>2023-01-27T08:50:26+00:00</dc:date>
    <link>https://fhp.incom.org/project/21283</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Intersectional Feminist Data Visualization Archive – Exploratory online collection of feminist, anti-racist, decolonial, queer, critical, and/or ethical data visualization research and practices]]></description>
<dc:subject>data_visualization intersectionalism feminism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b866cd5671f3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intersectionalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://gafam.theglassroom.org/">
    <title>The GAFAM Empire</title>
    <dc:date>2023-01-19T08:27:26+00:00</dc:date>
    <link>https://gafam.theglassroom.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[GAFAM Empire is a project in which we look at all the known acquisitions conducted by five big tech companies: Google, Amazon, Facebook, Apple, and Microsoft, from the moment they made their first one to the end of summer of 2022, when we stopped collecting data.

Why do we call it an empire? Our focus is on trying to understand how these companies purchase their power and ability to grow their respective market positions based on their information infrastructure through the simple operation of acquiring other businesses and their products. Our understanding of empire here is very basic: empire controls three basic layers of knowledge: 1) collection of data/intelligence, 2) storage of that intelligence as well as 3) capacity of processing it. These three unique characteristics give them powerful and unprecedented insights into how our societies operate. Why are we not calling them monopolies? Because this framing based on the idea of limited resources and competition for consumers frankly does not apply - the resources are unlimited - and that is our data and attention. When it comes to competition we are free to chose the ones we like - we can use products of them all in fact. In short we call them empires in a collonial sense, as in digital colonialism and not monopolies in a market competition sense.]]></description>
<dc:subject>media_ownership data_visualization google apple amazon big_tech</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f466f59fcf2f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_ownership"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:google"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:amazon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:big_tech"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.franziskamack.com/projects/visualizing-uncertainty">
    <title>Visualizing Uncertainty</title>
    <dc:date>2023-01-16T17:30:03+00:00</dc:date>
    <link>https://www.franziskamack.com/projects/visualizing-uncertainty</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Visualizing Uncertainty project led by Aaron Hill at Parsons School of Design draws inspiration from the fine arts to think about new ways of representing uncertainty and ambiguity. ]]></description>
<dc:subject>data_visualization uncertainty doubt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:356c82605d7c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:uncertainty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:doubt"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://nightingaledvs.com/behind-the-scenes-of-unimaginable-death/">
    <title>Behind the Scenes of “Unimaginable Death” | Nightingale</title>
    <dc:date>2022-12-15T19:43:43+00:00</dc:date>
    <link>https://nightingaledvs.com/behind-the-scenes-of-unimaginable-death/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Below is an interview with the authors of “Unimaginable Death: Visualizations of COVID-19 Pandemic Milestones,” which appears this month as a supplement to Nightingale Magazine, Issue 2, the print journal of the Data Visualization Society...

COVIC began in March 2020. That was a special moment for many people around the world. I participated in a Center for Design conversation with Dr. Isabelle Boutron from the University of Paris and this is when she started what became the Covid-19 – living NMA initiative to map all the COVID-19 clinical trials. Last week at a talk at the Rumsey Map Center, Jessica Martin from Bloomberg CityLab recounted how it was that moment when she and Laura Bliss came up with the idea to ask readers to submit homemade maps of their lives that became The Quarantine Atlas. It was a moment when everyone had to stop and look around for something to do. That gave birth to many projects.]]></description>
<dc:subject>data_visualization covid public_health</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c07739b81d7d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:covid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_health"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://fathom.info/laniakea/">
    <title>Fathom Information Design: Laniakea</title>
    <dc:date>2022-11-30T03:59:35+00:00</dc:date>
    <link>https://fathom.info/laniakea/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[With Laniakea, we’ve focused on the experience of exploring a massive amount of information. Through a combination of algorithmic mapping of content, topic modeling, and refined interaction design, Laniakea allows users to navigate an archive in an intelligent and intentional way. The first layer of Laniakea maps out each document or article based on its content, creating a cartographic view of the information. The second layer uses topic modeling and color to reveal additional relationships between areas of the collection. ]]></description>
<dc:subject>reading topic_modeling data_visualization mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:bc0fa140396c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:topic_modeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://benfry.com/traces/">
    <title>the preservation of favoured traces | ben fry</title>
    <dc:date>2022-11-30T03:54:39+00:00</dc:date>
    <link>https://benfry.com/traces/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[We often think of scientific ideas, such as Darwin's theory of evolution, as fixed notions that are accepted as finished. In fact, Darwin's On the Origin of Species evolved over the course of several editions he wrote, edited, and updated during his lifetime. The first English edition was approximately 150,000 words and the sixth is a much larger 190,000 words. In the changes are refinements and shifts in ideas — whether increasing the weight of a statement, adding details, or even a change in the idea itself.

The second edition, for instance, adds a notable “by the Creator” to the closing paragraph, giving greater attribution to a higher power. In another example, the phrase “survival of the fittest” — usually considered central to the theory and often attributed to Darwin — instead came from British philosopher Herbert Spencer, and didn't appear until the fifth edition of the text. Using the six editions as a guide, we can see the unfolding and clarification of Darwin's ideas as he sought to further develop his theory during his lifetime.

This project is made possible by the hard work of Dr. John van Wyhe, et al. who run The Complete Work of Charles Darwin Online. The text for each edition was sourced from their careful transcription of Darwin's books. This piece is one of multiple sketches that look at the changes between editions. For instance, the earliest version here simply depicts all six books in parallel. We've also created poster and book editions for sale. Detailed background and history of the project is here.]]></description>
<dc:subject>data_visualization text_art revision writing editing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:680c24f08577/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:text_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:revision"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:editing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/collection/synaesthesia-diagrams-1883">
    <title>Synaesthesia’s Colour Debut (1883) – The Public Domain Review</title>
    <dc:date>2022-10-27T02:43:23+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/synaesthesia-diagrams-1883</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Galton also turned his curiosity to the inner world and its perceptions. Pioneering research into the visual-spatial complex known as “number form” — in which individuals experience numbers as possessing distinct spatial properties — Galton published the very first color plate of synaesthetic visualizations in his 1883 Inquiries into Human Faculty and its Development.

In April 1879, Galton received a letter from his friend George Parker Bidder, a London barrister whose father had been a famous prodigy of calculation. The letter included diagrams of his visualizations for numbers, the months of the year, and historical time figured as the succession of English kings, prompting Galton to work up a “kitchen table questionnaire” that he distributed to hundreds of scientific and literary associates in England, America, Russia, France, Germany, and Italy. Though his earlier publications on number forms report the colors as described by respondents, only in 1883 did Galton enlist “no less than thirteen different lithographic stones” to faithfully depict them.]]></description>
<dc:subject>synaesthesia psychology data_visualization illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:12f47341b067/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:synaesthesia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/nightingale/treatise-a-visual-symphony-of-information-design-2ced33ef01a0">
    <title>‘Treatise’: A Visual Symphony Of Information Design | by Jason Forrest | Nightingale | Medium</title>
    <dc:date>2022-10-19T03:59:42+00:00</dc:date>
    <link>https://medium.com/nightingale/treatise-a-visual-symphony-of-information-design-2ced33ef01a0</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Like many fine art movements, the world of avant-garde music takes both an appreciation of the history of the genre and an interest in the subject to gain a full appreciation of it. While few have extensive familiarity with the edges of the arts, many of the innovations that move culture forward originate from these mavericks that challenge our preconceptions. Cornelius Cardew was certainly one such artist that broke barriers and shaped the music of those that followed him.]]></description>
<dc:subject>data_visualization music scores</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2279296f21c5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:scores"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://covic-archive.org/">
    <title>COVIC</title>
    <dc:date>2022-10-05T13:39:07+00:00</dc:date>
    <link>https://covic-archive.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[a collection of visual "representations", intended for teaching and research purposes, all pointing at the same phenomenon: the COVID-19 pandemic and its effects throughout the world.]]></description>
<dc:subject>data_visualization covid illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b445bc1c5764/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:covid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://datartefacts.hypotheses.org/?mc_cid=560f0072fd&amp;mc_eid=813b9cd747">
    <title>Datartefacts – A research notebook about data-objects and the relationship between knowledge and physical artifacts</title>
    <dc:date>2022-10-03T14:23:12+00:00</dc:date>
    <link>https://datartefacts.hypotheses.org/?mc_cid=560f0072fd&amp;mc_eid=813b9cd747</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_visualization data_visceralization rivers water</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e2b62a1694d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visceralization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rivers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:water"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/Sonja_Drimmer/status/1566101686170558468">
    <title>(4) 𝕊onja Drimmer on Twitter: &quot;🧵 Medieval Manuscript Lesson of the Day. Canon Tables! A sophisticated form of textual technology, cross referencing, &amp;amp; theological argumentation all delivered in a beautiful and meaningful package—what we would </title>
    <dc:date>2022-09-06T04:42:12+00:00</dc:date>
    <link>https://twitter.com/Sonja_Drimmer/status/1566101686170558468</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Medieval Manuscript Lesson of the Day. Canon Tables! A sophisticated form of textual technology, cross referencing, & theological argumentation all delivered in a beautiful and meaningful package—what we would today call graphic design.]]></description>
<dc:subject>data_visualization textual_form diagrams index manuscripts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a0f48b4be853/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:index"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:manuscripts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2022/09/03/us/fbi-mar-a-lago-documents.html?unlocked_article_code=AAAAAAAAAAAAAAAACEIPuonUyYiZ_tU1Gw5CRWySB4B99Fre1L-Xm_shnTjwJinQTD9Yiu1QB4GP_ALBYqF-YtY1wy_dRMNENPVnYs1O-dJlHh4nTRi08NzDmZIZLj88op6yQG5xgcidVO9p-GCvNGTmdqIizebl-hjdYWn1DaaO2XIkIFozocdgZkjqjSJTvtrNEOJ00tV83_8zVNstFXpbOn7877S_AA5-Od6GchjX9gAxPuhYUjvYltSagKkSJEQQURmVCSMivhtvrY9UK9gVP63gLh4_eMqYgL8ZCGxgLorBFITACgHSK7XyfdZocExViAk3&amp;smid=nytcore-ios-share&amp;referringSource=articleShare">
    <title>What the F.B.I. Seized From Mar-a-Lago, Illustrated - The New York Times</title>
    <dc:date>2022-09-05T23:04:47+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2022/09/03/us/fbi-mar-a-lago-documents.html?unlocked_article_code=AAAAAAAAAAAAAAAACEIPuonUyYiZ_tU1Gw5CRWySB4B99Fre1L-Xm_shnTjwJinQTD9Yiu1QB4GP_ALBYqF-YtY1wy_dRMNENPVnYs1O-dJlHh4nTRi08NzDmZIZLj88op6yQG5xgcidVO9p-GCvNGTmdqIizebl-hjdYWn1DaaO2XIkIFozocdgZkjqjSJTvtrNEOJ00tV83_8zVNstFXpbOn7877S_AA5-Od6GchjX9gAxPuhYUjvYltSagKkSJEQQURmVCSMivhtvrY9UK9gVP63gLh4_eMqYgL8ZCGxgLorBFITACgHSK7XyfdZocExViAk3&amp;smid=nytcore-ios-share&amp;referringSource=articleShare</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_journalism data_visualization multimodal_storytelling documents archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ba92d31be3a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:multimodal_storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:documents"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.katebingamanburt.com/daily-purchase-drawings">
    <title>Daily Drawings — The Office of Kate Bingaman-Burt</title>
    <dc:date>2022-07-21T20:17:17+00:00</dc:date>
    <link>https://www.katebingamanburt.com/daily-purchase-drawings</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I drew something that I purchased everyday from February 5th, 2006 until February 5th, 2014. This phase of the project lasted for 8 years. On August 12, 2017 (three and half years later and on my 40th birthday) I decided to pick this process of daily documentation up again. My plan is to keep going until I don't. Below is the documentation from 2006 to 2014  and you can currently follow the 2017 onward documentation  on my instagram. ]]></description>
<dc:subject>data_visualization diaries drawing lists</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8056018f56c6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diaries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:lists"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.gawker.com/media/the-erotics-of-infographics">
    <title>Hard Data: The Erotics of Infographics</title>
    <dc:date>2022-07-02T14:48:41+00:00</dc:date>
    <link>https://www.gawker.com/media/the-erotics-of-infographics</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Given that information visualization is the very practice by which these unhinged promises of data are brought to life and imbued with color and shape, an erotics of infographics is not only consequential but central to the proliferation of these promises. Infographics are a powerful aphrodisiac for ingratiating us to data’s supposed power. The erotics of infographics transmutes the experience of interpreting data – typically portrayed as a cold, sterile, clinical, and objective form of analysis – to one rife with thrill and stimulation....

Countering the erotics of infographics, however, necessitates a more substantive and urgent intervention: it requires stripping infographics of fetishism in both the sexual and economic sense. To do so, we must challenge the incessant claims surrounding the power of data and remind ourselves of who, precisely, benefits most from them.]]></description>
<dc:subject>data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:bd5208216df0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hdsr.mitpress.mit.edu/pub/oraonikr/release/1">
    <title>What Data Visualization Reveals: Elizabeth Palmer Peabody and the Work of Knowledge Production · Issue 4.2, Spring 2022</title>
    <dc:date>2022-04-29T17:29:29+00:00</dc:date>
    <link>https://hdsr.mitpress.mit.edu/pub/oraonikr/release/1</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This essay offers the chronological charts of Elizabeth Palmer Peabody (1804–1894), the 19th-century educator and intellectual, as early examples of how data visualization can reveal a range of forms of knowledge. It challenges the universality of the goals of clarity and efficiency when designing data visualizations, and argues for the value of visualizations that encourage sustained reflection and imaginative response. Drawing from feminist and Black studies scholarship, it confirms how visual knowledge is informed by the social, cultural, and political contexts that surround it, and how an awareness of those contexts can lead to more intentional and more effective visualization design. It concludes with a call to expand the archive of data visualization so that visualization designers, in the present, might be prompted to imagine a wider and more capacious array of visual and interactive forms.]]></description>
<dc:subject>data_visualization mapping feminism epistemology grid chronology temporality pedagogy textiles quilts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e36b31020500/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:grid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:chronology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:temporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:quilts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://kumu.io/">
    <title>Kumu</title>
    <dc:date>2022-02-25T20:59:30+00:00</dc:date>
    <link>https://kumu.io/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Kumu makes it easy to organize complex data into relationship maps that are beautiful to look at and a pleasure to use]]></description>
<dc:subject>concept_mapping data_visualization mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d8c7d542f27e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:concept_mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://syllabusproject.org/diagrams/">
    <title>Diagrams</title>
    <dc:date>2022-02-25T14:00:01+00:00</dc:date>
    <link>https://syllabusproject.org/diagrams/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Diagrams are often relegated to the realms of quantification, formalized data, or strict research processes. When considered more expansively — with appreciation for the plurality of knowledge1 — we can view them as cogent tools for connection, creation, and sensation. 

Defined simply, a diagram is a delineation of interacting lines — of gesture, connection, understanding, and more. Through these threads and their conversations, diagrams reveal stagnancies and flows in systems of every scale, posing new ways to connect and move through them. They invite us to create knowledge and to understand ourselves as always already embedded within orders and dis/orders. Diagrams are everywhere: knitted on looms, traced in a snail’s slime trail, held up by tendrils, scribbled in notebooks, and more, and more, and more. ]]></description>
<dc:subject>diagrams data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:15465499c5c2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.cleardarksky.com/c/GblnVllySPUTkey.html">
    <title>Goblin Valley State Park Clear Sky Chart</title>
    <dc:date>2022-02-24T04:54:58+00:00</dc:date>
    <link>https://www.cleardarksky.com/c/GblnVllySPUTkey.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[It's the astronomer's forecast. At a glance, it shows when it will be cloudy or clear for the next few days. It's a prediction of when Goblin Valley State Park, UT, will have good weather for astronomical observing.

The data comes from a forecast model developed by Allan Rahill of the Canadian Meteorological Centre. CMC's numerical weather forecasts are unique because they are specifically designed for astronomers. But they have 1180 forecast maps. It can be a chore to find the one you want. ]]></description>
<dc:subject>weather climate forecasting prediction data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:962a543fe4d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:weather"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:climate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forecasting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:prediction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://socks-studio.com/2014/01/23/marco-cadiolis-abstract-journeys-and-necessary-lines-2011-2013/">
    <title>Marco Cadioli’s Abstract Journeys and Necessary Lines (2011 – 2013) – SOCKS</title>
    <dc:date>2022-01-21T05:26:45+00:00</dc:date>
    <link>https://socks-studio.com/2014/01/23/marco-cadiolis-abstract-journeys-and-necessary-lines-2011-2013/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In Necessary Lines, his most recent series, Cadioli explores the involuntary land art pieces produced by the machines used for plowing large fields, supposedly connected to satellites through GPS devices. The maps, stuck in a spatio-temporal dimension that is probably already gone, due to the continuous updating of google databases, have been captured by Cadioli and exhibited as proper works of art: “The plowed fields are necessary lines, the lines are the path of the machines on the surface. These lines, seen from above, are just paintings. The same necessary lines painted by Frank Stella in his Stripe Paintings. The same lines photographed by Mario Giacomelli“.]]></description>
<dc:subject>DAIL data_space mapping data_visualization diagrams charts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fcfa4b95ceb4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:DAIL"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:charts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://socks-studio.com/2012/07/03/minjeong-ahn-an-autobiography-in-diagrams/">
    <title>MinJeong Ahn, An Autobiography in Diagrams – SOCKS</title>
    <dc:date>2022-01-21T04:59:53+00:00</dc:date>
    <link>https://socks-studio.com/2012/07/03/minjeong-ahn-an-autobiography-in-diagrams/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Ahn Min Jeong writes: “My work appears to be emotionless and analytic, but when you take a close look at it, the majority of my work employs motifs from personal memories, people around me and things that I have.”

The autobiographic drawings of this South-Corean young illustrator aims at discovering the true and priceless value out of seemingly insignificant things, through anthropomorfic diagrams and charts.]]></description>
<dc:subject>data_visualization autobiography annual_report diagrams drawing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:58d087267157/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:autobiography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:annual_report"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.itsnicethat.com/news/olivia-johnson-women-work-and-covid-19-illustration-310821">
    <title>Crochet is being used to help visualise the pandemic’s affect on Hispanic women’s employment</title>
    <dc:date>2022-01-20T04:08:44+00:00</dc:date>
    <link>https://www.itsnicethat.com/news/olivia-johnson-women-work-and-covid-19-illustration-310821</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Women, Work & Covid-19 is the new project utilising crochet to demonstrate how women – Black, Asian and Latina women mostly – have been disproportionately affected by the global pandemic.]]></description>
<dc:subject>textile data_visualization data_visceralization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fae7eadece53/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visceralization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.aaronreiss.com/">
    <title>Aaron Reiss: Journalist and Mapmaker</title>
    <dc:date>2022-01-14T17:26:46+00:00</dc:date>
    <link>https://www.aaronreiss.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>cartography mapping data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7eaeff215880/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://docs.google.com/document/d/1MfLDFmNO1stYmPuxXj20ziqVSUk2f7Q6SpdDcv0ob2U/edit">
    <title>20210706_Eni Natural Capital - Google Docs</title>
    <dc:date>2021-07-06T12:56:14+00:00</dc:date>
    <link>https://docs.google.com/document/d/1MfLDFmNO1stYmPuxXj20ziqVSUk2f7Q6SpdDcv0ob2U/edit</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[CRA and Eni present “Natural Capital,” one of the largest data visualizations ever produced. Set in Milan's historic botanical garden, the installation illustrates the role that plants play in absorbing emissions. It matches each tree species with a sphere showing how much CO2 trees can capture and store. The installation will be unveiled at the Milan Design Week in September 2021 as part of INTERNI’s “Creative Connections” exhibition. 
]]></description>
<dc:subject>trees data_visualization climate_change</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b978907c074f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:climate_change"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://stsdesignworkshop.tumblr.com/about">
    <title>digitalSTS and Design | About</title>
    <dc:date>2021-04-19T04:16:43+00:00</dc:date>
    <link>https://stsdesignworkshop.tumblr.com/about</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Over the course of two days this summer (June 27-28, 2013) STS scholars from around the world convened at Harvard University to explore the use of design methods for studying new hybrid forms of materiality in technoscience. Participants explored the potential in designing data narratives, a hybrid genre for the expression of STS scholarship. The design of data narratives is a new-media practice that merges distinct cultural forms for organizing knowledge: the database and the narrative. Narratives are linear, sequential, and animated by actors; databases, by contrast, are non-linear, random-access, and driven by algorithms. Data narratives operate in-between, threading visualized data through verbal exposition to produce hybrid timelines, maps, models, animations, and interactive texts. In this context, design can be thought of as the synthetic work of layering disparate ways of knowing. Indeed, as hybrids that leverage both database and narrative structures, data narratives bring the epistemic worlds of science and the humanities together in new configurations useful for telling grounded stories in a form likely to have impact both in scholarly discourse and in broader audiences beyond academe.]]></description>
<dc:subject>trees cataloguing data data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:40ce97168a90/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cataloguing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lifeonearth.seas.harvard.edu/learning-activities/deeptree/">
    <title>DeepTree | Life on Earth</title>
    <dc:date>2021-04-13T04:39:10+00:00</dc:date>
    <link>https://lifeonearth.seas.harvard.edu/learning-activities/deeptree/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The DeepTree is a visualization of the history of all life on earth. This tree of life represents the evolutionary relationship of millions of species from the very beginning of life, 3.5 billion years ago. The DeepTree is a multi-touch interactive application, allowing  people to “fly through” the vast tree of life to any species, and to learn how species are related through a set of showcase species and shared derived traits.]]></description>
<dc:subject>trees evolution installation data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:63b798ebd31b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:evolution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2021/04/02/style/coronavirus-safety-colors-states.html">
    <title>The Chaos of America’s Attempt at Color-Coded Covid State Guidance - The New York Times</title>
    <dc:date>2021-04-04T19:06:51+00:00</dc:date>
    <link>https://www.nytimes.com/2021/04/02/style/coronavirus-safety-colors-states.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In California, the color of suffering is the juicy purple of seedless grapes. In Alabama and Alaska, it’s blood-colored. Blue signifies safety in many states, unless the blue is navy and you’re in Utah, in which case it communicates total catastrophe — the worst conditions possible. In New Mexico, nothing is better than green except for a color the governor’s office used to call “green-plus,” before it was changed to turquoise.

The paradox of the many different colors of the nation’s many different coronavirus alert tiers is that they matter both so little and so much.

If you live in one of the roughly 20 states that signal coronavirus restrictions with hues (often in direct relation to infection rates), the colors have exerted greater influence over your life than almost any other authority, dictating whether your neighborhood bar is open and how many people in a nearby town are permitted to get haircuts simultaneously.

If you live in a place where the colors represent tiers of “guidelines” rather than mandatory constraints — Oklahoma, for example — it’s possible you never got into the habit of paying attention to them. Residents of other states — Maryland and Georgia, for instance — might be surprised to learn that some parts of the country are doing anything with colors at all.]]></description>
<dc:subject>covid data_visualization mapping color</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:db26cb40c151/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:covid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:color"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://society.robinsloan.com/archive/here-is-your-liberal-art/">
    <title>Here is your liberal art!</title>
    <dc:date>2021-03-12T17:47:04+00:00</dc:date>
    <link>https://society.robinsloan.com/archive/here-is-your-liberal-art/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Here is a 3D model of electricity consump­tion in Manchester in the early 1950s:]]></description>
<dc:subject>data_visualization data_visceralization models energy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0811ec885a0d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visceralization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:energy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.dignityanddebt.org/projects/du-boisian-resources/">
    <title>The Du Boisian Visualization Toolkit | Dignity and Debt</title>
    <dc:date>2021-03-05T15:47:40+00:00</dc:date>
    <link>https://www.dignityanddebt.org/projects/du-boisian-resources/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The historian and sociologist W.E.B. DuBois believed that social science data should be evocative. In the 2018 essay collection W.E.B. Du Bois’s Data Portraits: Visualizing Black America, architecture scholar Mabel O. Wilson describes how Du Bois used infographics and various artistic media to counter assertions by Georg Wilhelm Friedrich Hegel that Africans were “incapable of any development of culture” and that the black experience was characterized by “sensuous arbitrariness.” In the same volume, designer Silas Munro explains just how important the arts were for Du Bois’s scientific argument: “The Du Bois infographics were published twenty years before the founding of Bauhaus,” and their modular style predated “the rise of dominant European avant-garde movements… considered to have their origins in Russian constructivism, De Stijl, and Italian futurism.” Du Bois’s charts are both scientific and evocative. And they are provocative. They draw in viewers to study them, to make new insights, to raise new questions, and to take positive action.

This toolkit expands the Du Boisian-inspired work in our Student Debt Initiative. As part of that project, the Dignity and Network and the VizE Lab at Princeton adopted the style of Du Bois in a series of charts “The Problem of the Colored Lines” and an interactive student loan re-calculator that depict contemporary research on how racial color lines organize data on student loan debt. ]]></description>
<dc:subject>kits data_visualization du_bois</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6db112299a59/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:du_bois"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://correctionsproject.com/wordpress/portfolio/a-world-map-in-which-we-see/">
    <title>A World Map: In Which We See… – Ashley Hunt</title>
    <dc:date>2021-03-03T02:14:00+00:00</dc:date>
    <link>http://correctionsproject.com/wordpress/portfolio/a-world-map-in-which-we-see/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“A World Map: In Which We See…” charts the production of “statelessness” by following the figures of the “prisoner” and the “refugee.” Both denied meaningful access to participation in democratic space and practice, while protected by rights that no one is typically willing to enforce, the map traces these figures through landscapes of contemporary globalization, as they are conceptualized by multiple discourses and disciplines, including political philosophy, sociology, history, economics. The project evolved from an effort to think the terms of the U.S. anti-prison movement alongside those of the anti-globalization movement, feeling that while they were often addressing the same political, economic and social forces, the movements were not speaking to one another, defining the “object” of their critique so differently. In each installation the map was drawn uniquely for its context, while employing different methods for situating it into the conversation of that local space. ]]></description>
<dc:subject>mapping data_visualization network_map incarceration prison migration refugees</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f0fb0431639f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:network_map"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:incarceration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:prison"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:migration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refugees"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/2101.07993">
    <title>[2101.07993] Viral Visualizations: How Coronavirus Skeptics Use Orthodox Data Practices to Promote Unorthodox Science Online</title>
    <dc:date>2021-01-30T17:10:03+00:00</dc:date>
    <link>https://arxiv.org/abs/2101.07993</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Controversial understandings of the coronavirus pandemic have turned data visualizations into a battleground. Defying public health officials, coronavirus skeptics on US social media spent much of 2020 creating data visualizations showing that the government's pandemic response was excessive and that the crisis was over. This paper investigates how pandemic visualizations circulated on social media, and shows that people who mistrust the scientific establishment often deploy the same rhetorics of data-driven decision-making used by experts, but to advocate for radical policy changes. Using a quantitative analysis of how visualizations spread on Twitter and an ethnographic approach to analyzing conversations about COVID data on Facebook, we document an epistemological gap that leads pro- and anti-mask groups to draw drastically different inferences from similar data. Ultimately, we argue that the deployment of COVID data visualizations reflect a deeper sociopolitical rift regarding the place of science in public life. ]]></description>
<dc:subject>covid data_visualization mapping my_work</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f74c835d6cb9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:covid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:my_work"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://exhibits.stanford.edu/dataviz">
    <title>Data Visualization and the Modern Imagination - Spotlight at Stanford</title>
    <dc:date>2021-01-25T16:08:27+00:00</dc:date>
    <link>https://exhibits.stanford.edu/dataviz</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[There is a magic in information graphics. Maps float you above the land for a bird’s eye view. Timelines arrange memories on the page for all to see. Diagrams reveal the parts inside without requiring disassembly, or incision.*
❡ Data visualization leapt from its Enlightenment origins and into the minds of the general public in the 1760s. It cast more powerful spells throughout the following century. By 1900, modern science, technology, and social movements had all benefited from this new quantitative art. Its inventions include the timeline, bar chart, and thematic map. Together, these innovations changed how we understand the world and our place within it. Data visualization helped a new imagination emerge, wired to navigate a reality much bigger than any single person’s lived experience.
❡ The sections in this exhibition examine information graphics that show space, time, nature, and society. Many are beautiful. Each is a unique way of seeing still worth our attention. —RJ Andrews, guest curator]]></description>
<dc:subject>data_visualization information_aesthetics exhibition maps mapping time mapping_time</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8f18389d5bea/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:information_aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping_time"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://evolutionofweb.appspot.com/">
    <title>The Evolution of the Web</title>
    <dc:date>2021-01-25T14:54:54+00:00</dc:date>
    <link>http://evolutionofweb.appspot.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The web today is a growing universe of interlinked web pages and web apps, teeming with videos, photos, and interactive content. What the average user doesn't see is the interplay of web technologies and browsers that makes all this possible.

Over time web technologies have evolved to give web developers the ability to create new generations of useful and immersive web experiences. Today's web is a result of the ongoing efforts of an open web community that helps define these web technologies, like HTML5, CSS3 and WebGL and ensure that they're supported in all web browsers.

The color bands in this visualization represent the interaction between web technologies and browsers, which brings to life the many powerful web apps that we use daily.]]></description>
<dc:subject>data_visualization interaction computing_history internet platforms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:007bbd8a34c5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computing_history"/>
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<item rdf:about="http://journal.sciencemuseum.ac.uk/browse/issue-09/visualising-electricity-demand/">
    <title>Science Museum Group Journal - Visualising electricity demand: use and users of a 3D chart from the 1950s</title>
    <dc:date>2021-01-25T05:13:44+00:00</dc:date>
    <link>http://journal.sciencemuseum.ac.uk/browse/issue-09/visualising-electricity-demand/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Showing electricity demand by the hour, day, month and year, this 3D chart offers a rich visualisation of energy data in the UK from the years 1951–54. Acquired by the Museum of Science & Industry, Manchester, the object is significant as a tangible record of past practice, both of the electricity supply industry and its consumers. In this paper, we offer a close inspection of the object, and following its clues, we generate ideas about the chart’s use and users. In addition to commenting on the rhythmic patterning of daily and seasonal loads, we reflect on the role of the object at the time of its construction, in terms of forecasting, price-setting and load-shifting, and lobbying and demonstration.]]></description>
<dc:subject>energy data_visualization data_visceralization infrastructure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d60058d8516e/</dc:identifier>
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</item>
<item rdf:about="https://datalands.co/">
    <title>Datalands — Art, Data, Design</title>
    <dc:date>2020-12-24T02:42:21+00:00</dc:date>
    <link>https://datalands.co/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_visualization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:06a5c400103e/</dc:identifier>
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</item>
<item rdf:about="https://www.zoegilbertson.com/work-avenue">
    <title>Projects — Zoe Gilbertson</title>
    <dc:date>2020-12-24T02:31:15+00:00</dc:date>
    <link>https://www.zoegilbertson.com/work-avenue</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_visualization haptics tactility presentation_images data_visceralization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5b31851c8b6b/</dc:identifier>
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</item>
<item rdf:about="http://o-j.co/">
    <title>Olivia Johnson</title>
    <dc:date>2020-12-24T02:16:07+00:00</dc:date>
    <link>http://o-j.co/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>data_visualization data_visceralization tactility textiles haptics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e38a86998c33/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:haptics"/>
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</item>
<item rdf:about="https://www.zoegilbertson.com/work-avenue/">
    <title>Projects — Zoe Gilbertson</title>
    <dc:date>2020-12-24T02:03:10+00:00</dc:date>
    <link>https://www.zoegilbertson.com/work-avenue/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>presentation_images data_visceralization haptics data_visualization tactility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3ca409f371c8/</dc:identifier>
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