Data visualizations: Jellies of the data ocean ?

Volker Schweisfurth, Germany /Sept 2017 for the LinkedIn community

This paper deals with non- scientific illustration, CAD output, animations, 3D printed datasculptures without/ with electronic features, handmade data sculptures, collaboration data games, MVRDV datascene approach and AR/VR implementations of data use; and I follow six routes (1- 6) along exploitation patterns and technologies.

Let me dare to compare: Data visualization (DV) as an important decision support tools might be regarded as the yellyfish (medusae) of the data ocean. Why? Medusae are beautiful - and often dangerous; they have many forms, are softbodied, free- swimming, exist all over the oceans, have nearly transparent umbrella- shaped bells , trailing tentacles and move efficiently. Jellies can exist as “blooms“ (large groups that gather in a small area) or swarms (with a time component like seasonal increases) and appear rather suddenly, due to their amazing lifecycles. They have no heart, have very efficient movements and some of them are amazingly immortal. This description nicely seems to fit with digital data visualization/infographics and its results: Some are beautiful, some important, some dangerous (fake illustrations sting in the twinkling of an eye).

Illustration 1 shows my interpretation of the DV lifecycle; with the focus on the less known “species“ (hybrids and AR/VR data transformation). Lets start at 12 o′clock: The data collection as input stems from big data analysis results, studies and human expertise. In my physical, 3D printed datasculptures I concentrate on global issues and strategic data from solid sources like World Bank, UN, Transparency International, Forbes, etc.

Most existing data visualizations seem to be of the illustration/ infographics type: Billions of them swim in the data ocean. These species are well known; one may call this segment “traditional“ (see green sector). The clockwise following sectors ( in yellow, yellow-green, etc.) show some innovative “species“ and also present multisensory experiences ( haptics, overlays, games, total immersion).

Illustration 1: Forms of data visualization and their novelty value

Their outer appearance, routes and transitions are scheduled in Illustration 2. See ten clips that show the typical shape and six routes with four stop stations. Route 1 leads from tabular input to the main species “Illustration“ and is frequently used: Normally it offers 2D flat illustrations in 50-80 versions or more to accompany presentations, studies and the press. This species lives in “flatland“ (displays, journals, documents etc.). Less known is data use for collaborative games with acting persons (see Route 2) like the “earth as a village with 100 inhabitants“ ( nations/wealth/weapons, etc.). As an example, see details of Buckminster Fuller′s ?World Game“ at (https://www.bfi.org/about-fuller/big-ideas/world-game) on his comprehensive, anticipatory, design science approach to the problems of the world. This rare species leaves flatland.

Illustration 2: Cutting- edge data visualization and its species

Route 3 leads to some innovative species, CAD output, animation (via 4) and datasculptures. Formerly, CAD (computer-aided design) has been a workhorse mainly for architects, engineers and product designers, but it also acts as a starting point for innovative extensions of data visualization: CAD-designed output (see at 4 and A) can be a major source of illustrations: The sophisticated software delivers 3D perspectives, shadows and many forms of layout styles – but until now mainly for architects. But also economists who have to deliver presentations could exploit these tools; see www.meliesart.de for some examples.

Why to introduce 3D-printed datasculptures (Stop B) as tangible items - leaving flatland? Because the amount and volatility of strategic data that is constantly disseminated in digital form invites new hybrid forms, i.e. more durable analogue supplements, also to establish new narratives. And remember that physical datasculptures is not a recently discovered species: The physical representation of data has 7000 years of tradition. The Sumerians used pieces of clay to represent units of measure; native Micronesians made physical visualizations that showed ocean swell patterns to facilitate canoe navigation. During the last decades, mainly artists like Loren Madsen, Luke Jerram and Adrian Segal were among the first to rediscover this form of visualization. Nowadays, the technique to create tangible datasculptures can be easily recharged with the help of 3D printing. Physical data modeling (see “data physicalisation / https://dataphys.org/”) as a form of “slow” and sustainable information might not only be used by architects and urban planners- even if they are forerunners of modeling in analogue and digital form: The clip on Illustration 2 “Urban datamodeling” recalls a bold approach of 1997 by MVRDV architects (NL); they constructed a virtual city (“Datatown”) which was based only upon data and which wanted to be described only by information and evoked questions on implications, assumptions and on the agenda resulting from this numerical approach.

My point is: Economists, teachers and journalists can use the power of physical data modeling. too; it offers insights and additional sensory values (touch the models, hand them round, watch them at eye level, feel the surface haptics) and it improves memorization- or, as Robert Polidori, a Canadian photographer, mentioned “Digital data is made to forget, analogue is made to remember”.

Illustration 3: A data physicalization offers a fresh look and feel on economies

Illustration 3 shows a 3D dataSculpture in A4 format, printed in Belgium on a hight tech colour printer. It exhibits as surfaces (xy) the Gross National Products (ppp) of 130 nations and as heights (z) the “Doing Business” ranking positions; lower is better. See( right low) the superior position of Japan compared to Pakistan and India. The population age pyramid projections for 2030 and 2050 have been glued on to make the model cheaper. This datasculpture has been added in October to the Kantar Information is Beautiful Awards 2017 Longlist.

These "statistics at your fingertips" give more life to data – however, datasculpures should not try to exploit short term/ volatile data, but use strategic data with a certain lifespan. I like key data of studies published by international organizations and business journals- data that are worth to be remembered and to be circulated. Colour- printed models need professional production machines, but suitable printing houses (Sculpteo, iMaterialize, Shapeways, etc.), can easily change print sizes, etc. Material ranges and surface options become wider, but raw materials will not easily become much cheaper. A4 format seems to be a certain limit for a suitable colour model ( see Illustration 3 ). In general, 3D printing technology gets smarter (speed, materials, processes, colours, resolution, data collection by 3D scanners); all of this is driven by demanding client sectors ( medicine, aerospace,machinery etc.). In the near future suitable 3D-printed datasculptures may populate board meetings, consultancy firms, real estate agencies, redaction rooms and attain some intelligence (see below). Just leave “screenland” behind you !

At Point C, Route 3 stops at “datasculptures with screens“. Here we talk of active data physicalization. The technology of merging 3D printing and assembling of electronic devices ( circuit paths, switches, minicomputers, displays, etc) is gaining speed. Bendable colour OLEDs and miniaturisation pave the way for new applications. Displays and digital devices will become part of 3D-printed datasculptures and will allow interactive use when presenting data and may show visual elements, etc. on multifaceted sculpture surfaces: In the end, electronics will disappear behind the surfaces- like in the toy industry- and datasculptures will become intelligent visualization bodies - also with changing shapes (4D) (maybe due to Disney′s efforts). And they will become more and more similar to jellies...

Route 4 starts at CAD design of a datasculpture and has a first stop at animation: As you can easily split off animations from CAD files (as an example see https://www.youtube.com/watch?v=0YgKRdeZqEM), this use of animation is another argument to beef up data visualization by CAD tools. With the animation file of your CAD model you can also review some of the visual effects that you have in mind for your future AR/VR presentation (see second stop on route 4) because nowadays some CAD file formats offer a quite flawless input into powerful game engines like UNITY - that acts as a suitable tool for designing VR landscapes.

Illustration 4: The author walks through a VR terrain of his 3D printed models

Route 5: If you have to present physical datasculptures on a larger scale ( >1sqm) and/or if you are lacking the money for 3D printing of such behemoths, think about modeling your digital data in (blue) polystyrene like architects and urban planners do. I recently made a model similar to the one in Illustration 3 and it was suitable for a startup fair. See part of it on Illustration 2 (the clip at 7 o′clock). It models the Gross National Incomes (xy) and investment hindrance level (z) of African countries; take the datasculpture as a “chances/ risks” portrait of Africa for entrepreneurs.

Route 6 directly leads from CAD construction into AR objects and VR environments (also see Illustration 4, above). “ A fully immersive VR experience gives you a sense of scale, depth and spatial awareness that simply cannot bematched by a rendering, walkthrough or physical scale model“, as a U.S.architects journal recently defined. Source: https://www.aecmag.com/technology-mainmenu-35/1255-review-from-revit-to-vrVR). The feeling of personal presence inside a 3Dmodel is amazing and progress is driven by hard- and software, car industry, gamers and artists, to name a few. Whoever has been VR flying over the towered City of Bologna as it was in 1350 p.Chr. or has been wandering around in the immersive environments of Bowinkel / Banz amd others will agree: This will be a completely new world to exploit data visually. To pick up the article′s headline: ?Very beautiful and never seen jellies ahead“.

What has been accepted during a convincing VR presentation can be imported into other applications, be saved in any standard 3D- printing format and be physically printed. This may be a thrilling marketing advantage: You go back to your office from a VR presentation with a tangible souvenir. As far as future interaction design is concerned (mechanical controls, visual, gestual, sonic, brain interfaces, etc to interact with data) let us take a look at Hollywood: Just remember the (holographic) map room in James Camerons “Avatar“. What sort of jelly species the data ocean will show us during the years to come? In our visual age, there might be a “Cambrian Explosion“ of data visualization ahead, driven by new technologies (3D printing and its morphing with electronics, AR/VR technologies, a very broad base of hundreds of millions installed consumer devices, and AI with predictive analysis tools, etc.). But a Cambrian Explosion of such form also will depend on the creativity of economists: How Prof. Axel Ockenfels, Cologne recently stated ?The future belongs to engineers and to economists who are ready for experiments.“