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<figure> <img src="images/dante.jpg"> <figcaption>Sandro Booticelli, The Map of the Hell, illustration to Divine Comedy by Dante , c.1485, BIBLIOTECA APOSTOLICA, VATICAN</figcaption> </figure> Data (big and small) & Art. or: Data & [[Aesthetic]]. Two general entries to explore this wide subject: [[Design]]. Aesthetic aspects of Data Viz. [[Data-Art]]. Art practice based on numerical (digital) data. What is a [[difference]] and is there a clear limit between Data-Art and Data Viz?

<figure> <img src="images/twine.jpg"> <figcaption>Twine's UI</figcaption> </figure> It is not a presentation of my research plan. It is an exploration of different ways of approach to the subject I'm interested in. For this, I used Twine, an open-source tool which allows to build non-lienar and interactive strories. All images used in this presentation are either my own property, in public domain or under Creative Commons Licence (licence 2.0 Generic (CC BY 2.0)). go to [[start]]

<figure> <img src="images/Playfar.jpg"> <figcaption> William Playfair's Exports and imports to and from Denmark & Norway from 1700 to 1780 published in his Commercial and Political Atlas, 1786</figcaption> </figure> William Playfar (XVIII s.) Edward Tufte (b. 1942): artist, statistitian, professor of political and computer sciences (Yale), advocate of complex thinking, severe critic of Power Point with its "simplistic thinking" with "ideas squashed into bulleted lists", "created to guide and reassure a presenter rather than enligthen audience". “The world is [[complex]], [[dynamic]], [[multidimensional]]; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?” New type of knowledge and its share: [[intersubjective communication]].

<figure> <img id = "vertical" src="images/Durer.jpg"> <figcaption>Albrecht Durer, Institutiones geometricae Paris, 1532</figcaption> </figure> Data art is not so "young" if we consider that an ornament or, for example, sand painting of Australian aborigins are the encoding information. Selfconsciousness of Art linked to Information: late 1960'. Exhibition <a class ="red" href ="https://www.moma.org/calendar/exhibitions/2686" target="blanc">"Information"</a> at MOMA in 1970. Today's [[state of art]].

<figure> <img src="images/inca-tunic.png"> <figcaption>Inca period tunic, fragment, between 1450 and 1540. DUMBARTON OAKS LIBRARY </figcaption> </figure> The need to represent the complexity of the world, in different periods and cultures calls to the differnt levels of abstraction and codification. We can't always be sure where information becomes "art" because if we assume the art is about representation, all visual information on a certain level of abstraction is art. back to [[Design]]

<figure> <img src="images/flights.jpg"> <figcaption>jo.sullivan, World Airline Routes </figcaption> </figure> The biggest challenge of the art of the 20th century was movement and its representation. From futurists and first movies toward complex data visualisations which are able to summarise, in real time, a complex dynamic of a large set of data. The challenge today is interactivity and conncetion of visual output to dynamic input (data). Aim: the real time interactivity. back to [[Design]]

<figure> <img class = "vertical" src="images/manetti.jpg"> <figcaption>Profilo, Piante e Misure dell’Inferno di Dante (Section, Plan and Dimensions of Dante’s Inferno), by Antonio Manetti, c. 1529, CORNELL UNIVERSITY LIBRARY</figcaption> </figure> <figure> back to [[Design]]

In large understanding, Aesthetic: "it's about beauty". Epystemology: relative to sensitive, pertaining to sense perception. Aesthetic is, originally, a study of subjective and sensori-emotional values. If we stick with this understanding of Aesthetic, Information Art is about mapping the differents domains of perception to a shape (image, sound, etc) which becomes a medium for our subjective sensori-emotional values. back to [[start]]

The end of the 20th and 21st century: Art/science connection. "Science and art have in common intense seeing the wide-eyed observing that generates empirical information." (<caption>Edward Tufte, Beautiful Evidence, Graphic Press, 2006, p. 9</caption>) Variety of practice and exhibitions ("123 Data", Fondation EDF, Paris, 2018). Emergence of Data Humanism (Giorgia Lupi). Scoop on the [[personal data]].

Proposition of defintion: <h4>Data art is a creation which matter is Data and which future form is defined by this data and is free of visual standard's constrain.</h4> [[Data-Art origins]]

<figure> <img src="images/Data-viz.png"/> </figure> Data from one side and (pre-defined) forms from another. While Data-Viz aims the (beautiful) evidence, what is [[Data-Art's target]]?

<figure> <img src="images/Data-art.png"/> </figure> No "evidence". DA uses the tools (digital or not) which allow the control over the future form. Digital Data Art: NOT Tableau like softwares. to [[Data-Art]] back to [[start]]

Data based. Interactive. D3.js along with P5.js (or Python with Processing). Aiming an [[intersubjective communication]]. Experience to be a base for [[dissertation]].

<figure> <img src="images/paradise.jpg"> <figcaption>Sandro Boticelli, Paradise </figcaption> </figure> <figure> Data Visualization is a link between different subjectivities, those of producer and those of consumer. "How seeing turns into showing, how empirical observation turns into explanation and evidence" (Ed. Tufte') back to [[Design]] back to [[start]]

<figure> <img src="images/me.png"/> </figure> back to [[start]]

We become ourselves, more & more "data descriptive". Emergence of Quntified Selfers trend and its theoretical support. Art allows us to take a critical distance to the data gathering and analysis processus, to hijack them. Several experiences last 2-3 years (like the project Dear Data of Stephanie Posavec & Giorgia Lupi). Inspiration for my own academic [[artifact]].