Mapping Foreclosures in the New York Region
Given that the New York Times Graphics Department is a winner in this year’s National Design Awards, it seemed opportune to look back at some of its recent work. Over the past few years, the Times has published many excellent interactive visualizations as counterparts to the equally brilliant static information graphics found in the paper, including the previously mentioned 31 Days in Iraq by Alicia Cheng. Each interactive is predicated upon a hypothesis and the evidence that supports it. Here, visualization is treated as a medium for journalistic inquiry by creating an editorial framework for the data on display.
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Social media is the largest mainstream technological development of recent years. While it has undeniably lead to an increase in the interactions we have with others, I would argue that these interactions also inherently seem less meaningful due to more stringent mediation. The latest generation of social networking sites, such as Facebook, Twitter, YouTube, and Digg, is characterized by highly formalized, high-frequency content formats—streams of short messages, status updates, short videos, and other forms of content, all apparently aimed towards instant gratification for short attention-spans. It appears that the more structure we impose on communications, the more homogeneous and predictable they become.
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Lebbeus Woods, Same Difference
Form inevitably creates narrative, disclosing the intent and the hand of the author. Whether linear or non-linear, any narrative contains a particular point of view. On the other hand, formlessness allows for unencumbered individual interpretation. I think of formlessness in its purest state as randomness. The only true opposition to structure, it gives equal importance to each structural entity. It is the only truly democratic (objective) view of information.
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Mapping seems to float between two poles—symbolism and realism, or abstraction and dimensionality—as the attempt is made to either (with increasing accuracy) simulate a landscape or environment, or interpret it as a sign or composite of signs. At first glance, the former could be considered the predominant direction—technology leading the way in the gradual displacement of the latter. However, not only are both vectors alive and well: realism has been an ongoing pursuit in mapping as long as symbolism, and symbolism is equally seeing a new resurgence due to technological developments.
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Bernd & Hilla Becher, Gravel Plants
Lately I have become interested in artists for whom collecting is central to their process. Dealing with taxonomies and systems of classification, their work is, at least in part, a critique of the activities of museums and collecting institutions or individuals. Fundamentally, these artists are exploring notions of identity through quantitative assessment. Here, identity is expressed through an ontology—a system of objects, representing a particular and unique perspective. A collection seeks to establish a framework by which to formalize, structure and express its content. Through their work, these artists critique that framework at different levels—relating to individual identity, the role of the institution, or society at large.
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