The Music Timeline is a new project from the Big Picture and Music Intelligence research groups at Google. The Big Picture group includes star names such as Fernanda Viégas and Martin Wattenberg. The Timeline is updated weekly and let’s you see how different musical genres grow or shrink in popularity through the years from a starting point of 1950. It also let’s users discover artists’ libraries from within each genre.
The visualisation exists, in the first instance, as an interactive stacked area chart, with the thickness of each genre determining its popularity over time and the colours used to differentiate between genres at the top level and the sub-genres beneath. The popularity data comes from Google Play Music and is based on the number of users who have an artist or album in their library. In the ‘About‘ description we see this explained: “The jazz stripe is thick in the 1950s since many users’ libraries contain jazz albums released in the 1950s’.
When you click on a certain genre, you are then taken to an interactive stream graph including more detailed sub-genre streams within the overall shape. Beneath the main graphic you have a selection of seven prominent albums/artists from down the years, though it is unclear on what basis these are selected (possibly top seven sales figures on Google Music?). Clicking on an album will take you through to the artist/album’s library.
Read more about the project including some of the key acknowledgements about the depth and state of the data.
Really like this work from Damien Demaj to visualise a key facet of Rafael Nadal’s incredible 2013 season on the tennis tour. Damien runs GameSetMap, a blog that presents new ways of looking at tennis analytics and tennis spatial data in particular. Damien’s recent work explores Nadal’s historic season via an interactive Game Tree.
Nadal’s Game Tree allows you to explore how his 600+ service games played out in the Grand Slams, Masters 1000 and World Tour Finals. As Damien describes:
The challenge was to come up with a visualization that better reflects game momentum, and therefore shows how easily, or not a player wins their service game. Each point in Nadal’s Game Tree is colour coded to reflect the momentum in each game. Blue representing positive momentum, and red negative momentum. The spine of the game tree is coloured white indicating neutral territory for Nadal.
If it was available, I’d love to see a similar approach applied to all players on the tour, would be fascinating to see the shapes of players throughout the rankings and between genders, see how their games match up to the ideal of that right hand side path on the tree. Maybe you could compare players across small multiples of their basic tree shape? Maybe compare players in different eras?
Anyway, that’s just a personal wishlist, nice work Damien. Check out the rest of his analysis on GameSetMap.
Just been looking in detail at the latest great project from the NYT’s ‘BosCarQue’ triumvirate, visualising the history of college athletics in the US.
One of the elements that really grabbed me was the integration of a mini bar chart (sparkbars?) within the introduction text.
The idea of creating and embedding word-sized graphics into text is not new. Sparklines, as described below, are one of the most enduring ideas from Tufte’s heyday:
A sparkline is a small intense, simple, word-sized graphic with typographic resolution. Sparklines mean that graphics are no longer cartoonish special occasions with captions and boxes, but rather sparkline graphic can be everywhere a word or number can be: embedded in a sentence, table, headline, map, spreadsheet, graphic. From Edward Tufte’s book Beautiful Evidence.
However, this is the first time I recall seeing it being used ‘in the wild’ (ie. not from Tufte’s texts) and done in a way that seemed so natural, so obvious and so seamlessly, as if a bar chart was just another component of our written vocabulary.
Last week I shared details of a treemap data art project, now here’s another way to transform your data into something more than just a form of communication. The latest release of DataAppeal enables users to import their generated 3D data-maps into other 3D modelling and vector-based software programmes creating the potential for physical 3D prints being made of their data. Here are some examples of the potential outputs, sent to me by founder, Nadia Amoroso.
In this sequence of examples we see a data representation of GTA Transit volume across thousands of districts in Toronto and surrounding across over a 24 hour period.
The output of the initial 3D mapping from DataAppeal is then compatible with software including AutoCAD, SketchUp, Rhino and 3ds Max.
From there, why not go a stage further and get physical!
Details of a Treemap Art Project have come to my attention, showcasing data-generated artwork from one of the most influential names in data visualisation, Ben Shneiderman. The project has the compelling strapline ‘Every AlgoRiThm has ART in it’.
Ben has had a hugely distinguished career and is responsible for a host of notable achievements in this field, along with Human Computer Interaction. His ‘Eight Golden Rules of Interface Design‘ and ‘Visual Information-Seeking Mantra‘ are but two of his most enduring footprints on these subjects. However, I’m sure it would be the case that many people most associate him as the pioneer of the treemap visualisation technique.
He has been working on a summer project to create a set of artworks based on his treemap technique, which has now come to fruition with the hanging of 12 framed images (24 x 36 inches) on the walls in the University of Maryland Computer Science Instructional Center.
Whilst the noise has died down somewhat recently, the negative reaction many purists have to data art as a concept is often misplaced. Data art should be judged through a different lens to data visualisation. The latter is generally concerned with discoveries from or communication of data, whereas data art is more about self-expression or an exhibition using data. Sure, there may some consequential discovery or enhanced cognition about the underlying subject through the resulting patterns, but that is not the goal.
Although I conceived treemaps for purely functional purposes (understanding the allocation of space on a hard drive), I was always aware that there were aesthetic choices in making appealing treemaps, such as the layout, color palette, and, aspect ratio of the entire image. Also certain treemaps were inherently interesting because of the data displayed or patterns revealed.
Ben goes onto explains his belief that there are at least four aesthetic aspects of treemaps:
The dedicated website tells the story, shows sets of draft designs, and full size PDFs for the 12 images. There is also a flyer for those who want a 2-page summary with all 12 thumbnails and some pictures of the installation.
Ben explains that the prints will be up for at least two months…
then we’ll see what happens… I’ve been getting increasingly enthusiastic feedback as we refined the designs. Now dealing with requests for prints, which is a good sign. It’s been very interesting to shift my thinking to the aesthetic side and commit to making artistic choices.
The BBC News website has today launched a new series titled ‘100 Women‘, bringing together a range of interviews, profiles, articles and other digital content to look at the world we live in through the eyes of women.
To mark the series they have released a videographic (or is it info-videographic? infographic video?) that explores some of the sobering and staggering statistics around women’s continued battle for parity, opportunity and safety in our modern society, ebbing and flowing between positive stories and then more depressing contexts. It is not possible to embed the video but here are some screengrabs and just click on the images to get to the video’s page.
Interestingly, looking purely at the design execution, for the purist, there are probably many flaws behind the representation of the data in this video and it has that infoposter-elements look and feel. However if the measure of effectiveness is about the clarity and impact of the information communicated, then I have certainly found it a success.
The Fallen 9000 was an artistic ‘event’ to coincide and mark International Peace day on 21st September. The project took place on the D-Day landing beach of Arromanches in France with the objective of representing the estimated 9,000 civilians, German forces and Allies who lost their lives on 6th June 1944.
The project was the idea of Yorkshire sand artistis, Jamie Wardley and Andy Moss. They created a series of stencilled drawings for a team of volunteers to use to create the image prints of bodies in the sand.
Our challenge is to represent those lives lost between the times of the tide with a stark visual representation using stencilled sand drawings of people on the beach. Each silhouette represents a life and when it is washed away its loss. There is no distinction between nationalities, they will only be known as ‘The Fallen’.
As the authors describe, “the exact figure of the fatalities will never be known due to the horrendous carnage that is often termed the ‘fog’ of war. 9000 is a rounded down to the nearest thousand and is most likely a conservative number based on 3000 French civilians, 2000 German Forces and 4414 Allies.”
As the authors describe, the tool maps global trade against economic opportunity and quality of life indicators with the purpose of examining the relationship between global trade and social and economic factors within and between countries around the world.
The project is primarily based on a navigable map and/or list of country codes that enable you to compare one country’s trade ‘data card’ with another. Each card is packed with indicators about the country’s reliance on trade, including matters such as the ease of doing business, the country’s global competitiveness and the Human Development Index for context.
You also have the ability to create your own colour pallete and interact with a sliding range selector to view the reliance on trade of countries up and down the spectrum. By toggling the inclusion or exclusion of the blue (doing business), red (global competitiveness) and yellow (HDI) factors, you see a colour mix applied to the profiled countries at each point on the selector to highlight their relative readings across these indicators.
There is a lot going on in this project so it is really helpful to be welcomed by a screen full of explanatory annotations and instructions. Like we saw recently with the project ‘Kindred Britain‘, don’t just dive in and expect to be immediately intuitively capable of interpretation/understanding, it needs a bit more patience and careful navigation before you reach that stage.
I therefore found it really helpful and refreshing to see this project avoiding the lazy option and just putting out a tool, abdicating responsibility for how effectively users interact with and unearth findings from the tool. Instead, the designers/authors have created four sections of key Q&As including key insights, functionality, elements of the data visualisation, and data analysis. There is also a detailed blog post that provides more depth about the background, workings and findings of the project.
The project presents the key findings showing how opinions have changed in Britain between 2013 and 1983, accompanying the full written report with a interactive view of five key slices of analysis. The first view, shown above, is a neat slider showing a montage of different imagery associated with some of the main topics or significant changes over the 30 years.
As you scroll down the page you move through the 5 main topics: Economy, Welfare, Morality, Politics and the Environment. Each section is accompanied with two or three charts showing you the key findings as well as offering interactive filters, milestone hovers and the option to download the data yourself.
If you want to read more about this project visit the NatCen project page.
A fantastic new visualisation work has been released today titled ‘Kindred Britain‘. Created by Nicholas Jenkins and Elijah Meeks of Stanford University in partnership with Scott Murray (amongst others) the project offers a deep, exploratory interface into a network of nearly 30,000 key figures in British culture connected through ‘family relationships of blood, marriage, or affiliation’. As the designers describe, ‘it is a vision of the nation’s history as a giant family affair’.
The site itself will do far more justice to the mechanics of the visualisation but the basic idea is that you can explore the relationships between key figures in British History. With 30,000 nodes there exists a potential 897 million different paths through the network. One way to interact with the contents is to search for and isolate a key figure then drag them over another one to establish their network of connections and relationships.
As well as the network view you also have a ‘Gantt chart’-type timeline view of the applicable individuals and a map view providing a geographical narrative.
Aside from serendipitously finding interesting people, you can use the menus across the top to short-cut your selections based on curated views and popular selections: most viewed, professions, families, firsts and lasts, notable combinations and key stories.
This is one of the deepest visualisation undertakings I’ve seen for a long time and the creators have done an incredible job providing a route into this fascinating subject matter. There is an exquisite balance between the elegance and clarity of the design and the preservation of the weight and multi-faceted complexity of the content.
Amongst many great features, one of the most important and impressive is the care for the reader’s experience. Rather than over-simplify this project, diluting its essence, instead there is a respect for the reader demonstrated by a great level of annotated assistance and insight. Nowhere is this better shown than the welcome windows that introduce the project, describe the basic interactive functions used to explore the site and explain the colour palettes and important visual keys.
Beneath this you have so much more detail about the project, including extensive user guides, project FAQ’s, glossaries and a super account of the design challenge by Scott.
A wonderful project, congratulations to all involved and do spend some time exploring it.