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首页信息可视化深度解析:《视觉繁美》原著探讨
信息可视化深度解析:《视觉繁美》原著探讨
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《视觉繁美:信息可视化方法与案例解析》是一本由曼努埃尔·利玛(Manuel Lima)所著的专业数据可视化原版著作,由普林斯顿建筑出版社(Princeton Architectural Press)出版,位于纽约市东第七街37号。这本书探讨了如何通过图形、图表和其他视觉元素来有效地传达复杂的信息,帮助读者理解和解读海量数据。 作者在书中深入剖析了信息可视化领域的各种模式和技巧,旨在提升数据故事讲述的艺术。读者可以从中学习到如何选择合适的可视化工具,如何设计出既美观又具有说服力的图表,以及如何通过视觉化呈现来揭示隐藏在数据背后的深层次含义。《Visual Complexity》和《Mapping Patterns of Information》可能是书中的核心章节,它们可能讨论了复杂系统中的视觉表现策略和空间布局的设计原则。 书中涵盖了丰富的案例研究,这些案例来源于不同的领域,如社会科学、自然科学、商业分析甚至是艺术设计,展示了信息可视化的实际应用和创新实践。通过这些实例,作者向读者展示了一种将抽象概念转化为直观图像的强大能力,这对于数据分析师、设计师、研究人员以及对信息呈现有兴趣的任何人来说都极具价值。 此外,版权信息表明,未经出版社书面许可,任何形式的复制或再生产都是被禁止的,只允许在书籍评论的背景下使用。图书的编辑、设计团队以及多位贡献者都得到了特别感谢,他们共同确保了本书的质量和专业性。 《视觉繁美:信息可视化方法与案例解析》不仅提供理论知识,还为读者提供了一个实用的工具箱,帮助他们在面对大量信息时,能够以更清晰、更有吸引力的方式进行呈现。这是一本对于数据可视化爱好者和专业人士来说不可或缺的参考书籍。
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16Introduction
growing object of study in various scientific domains. The
more of these intriguing diagrams I uncovered, the more
enthralled and absorbed I became. This genuine curiosity
quickly turned into a long-lasting obsession over the visual
representation of networks, or more appropriately, network
visualization. As I entered my new postgrad career, this
passion somehow became contained, but I knew I couldn’t
resist it for much longer. Just a few months after graduating,
in the midst of that hot, damp summer in New York City, I
pulled together most of this initial body of research into one
unique resource. In October 2005, VisualComplexity.com
was born.
Initiated with approximately eighty projects—the result
of my academic research—VisualComplexity.com quickly
grew to encompass a variety of efforts, from mapping a social
network of friends on Facebook to representing a global
network of IP addresses. Although VisualComplexity.com
has grown to over seven hundred projects, the goal remains
the same: to facilitate a critical understanding of different
network-visualization methods across the widest spectrum
of knowledge. This vast repository—frequently referred to
as a “map of maps” and depicting an assortment of systems
in subject areas as diverse as biology, social networks, and
the World Wide Web—is the most complete and acces-
sible chart of the field’s landscape. Some projects are rich
interactive applications that go beyond the computer screen
and live in large-scale multisensorial installations; others are
static, meant to be experienced in print media like posters
and printouts. Some require hours of rendering and com-
plex algorithms to produce; others are simply drafted by
hand or use a specific drawing software.
Making this pool of knowledge available to an
even larger audience was the main impetus for this book.
However, as the book gained shape, it quickly became
clear that it was not just about making the pool of knowl-
edge more accessible, but also saving it for posterity. As I
reviewed projects to feature in the book, I was astounded
by how many dead links and error messages I encountered.
Some of these projects became completely untraceable,
possibly gone forever. This disappearance is certainly not
unique to network visualization—it is a widespread quan-
dary of modern technology. Commonly referred to as the
Digital Dark Age, the possibility of many present-day digital
artifacts vanishing within a few decades is a considerably
worrying prospect.
The reasons for this vanishing are never the same.
In most instances, pieces are simply neglected over time,
with authors not bothering to update the code, rendering it
obsolete. In other cases, the plug-in version might become
incapable of reading older formats or the application pro-
gramming interface (API) from an early data-set source
might change, making it extremely difficult to reuse the code
that generated the original visualization. Lastly, projects are
occasionally moved into different folders or domains or just
taken down from the servers, simply because they highlight
an outdated model that does not fit the current ambitions
of their respective author or company. As I gathered many
of the projects showcased in the book, I was surprised to
find that it was easier to retrieve an illustration by Joachim
of Fiore, produced in the twelfth century, than to attain an
image of a visualization of web routers developed in 2001.
Overall, this digital laissez-faire contributes to the ephem-
eral lifespan of most online visualizations, and consequently
the whole field suffers from memory loss.
More than preserving this collective effort for the
future, this book provides a broad background on the
17Introduction
various forces shaping its development. It yields a com-
prehensive view of the visual representation of networks,
delving into historical precedents, various contemporary
methods, and a range of future prospects. It looks at the
depiction of networks from a practical and functional
perspective, proposing several guiding principles for cur-
rent practitioners, but also explores the alluring qualities
of the network schema, as a central driver for a new
conception of art. This comprehensive study of network
visualization should ultimately be accessible to anyone
interested in the field, independent of their level of exper-
tise or academic dexterity.
The book opens with “Tree of Life,” an exploration
of the sacred meaning of trees and their widespread use as
a classification system over the centuries. It showcases an
assortment of ancient representations—as predecessors of
modern-day network diagrams—where the tree metaphor
is used to visually convey a variety of topics, from theologi-
cal events to an encyclopedia’s table of contents.
The second chapter, “From Trees to Networks,” makes
the case for a new network-based outlook on the world, one
that is based on diversity, decentralization, and nonlinearity.
It explores several instances—from the way we envision our
cities to the way we organize information and decode our
brain—where an alternative network model is replacing the
hierarchical tree schema.
Chapter three, “Decoding Networks,” delves into
the science behind network thinking and network drawing,
providing a short introduction to its main precursors and
early milestones. It also takes a pragmatic and utilitarian
look at network visualization, acknowledging its key func-
tions and proposing a set of guiding principles aimed at
improving existing methods and techniques.
Following a series of functional recommenda-
tions for network visualization, chapter four, “Infinite
Interconnectedness,” presents a large number of examples
divided into fourteen popular subjects. From depictions of
the blogosphere to representations of terrorist networks,
chapter four highlights the truly complex connectedness of
modern times.
If chapter four looks at the practice primarily through
its most common themes, chapter five, “The Syntax of a
New Language,” organizes a vast array of projects by their
shared visual layouts and configurations. As designers, sci-
entists, and researchers across the globe portray an increas-
ing number of network structures in innovative ways, their
collective effort forms the building blocks of a new network-
visualization lexicon.
After presenting an abundance of network-visualiza-
tion examples in chapters four and five, chapter six, “Complex
Beauty,” examines the alluring nature of networks, responsible
for a considerable shift in our culture and society. Alternating
between scientific and artistic viewpoints, this chapter explores
the divide between order and complexity before culminating
in a discussion of an original art movement embracing the
newly discovered beauty of the network scheme.
Finally, and in the spirit of network diversity and
decentralization, “Looking Ahead,” the last chapter, pres-
ents different views on the influential growth of visualiza-
tion, according to renowned experts, active participants,
and attentive observers. The featured essays cover an array
of trends and technologies shaping the progress of visual-
ization and provide an immensely captivating perspective
on what may lie ahead.
By exploring different facets of our information-
driven network culture, this book ultimately unifies two rising
18
disciplines: network science and information visualization.
While network science examines the interconnections of
various natural and artificial systems in areas as diverse as
physics, genetics, sociology, and urban planning, informa-
tion visualization aims at visually translating large volumes
of data into digestible insights, creating an explicit bridge
between data and knowledge. Due to its intrinsic aspira-
tion for sense-making, information visualization is an obvi-
ous tool for network science, able to disentangle a range
of complex systems and make them more comprehensible.
Not only do both disciplines share a yearning for under-
standing, but they have also experienced a meteoric rise
in the last decade, bringing together people from various
fields and capturing the interest of individuals across the
globe. But if this popularity is to become more than a fad,
our efforts at decoding complexity need to be mastered
and consolidated so that we can contribute substantially to
our long journey of deciphering an increasingly intercon-
nected and interdependent world. This book is a single step
in this journey, and ultimately a testimony to the enthralling
power of networks and visualization.
Introduction
19
This endeavor would not have been possible if it had not
been for the effort of dozens of individuals and institutions.
First and foremost my gratitude goes to all the authors and
organizations, who without exception have kindly shared
their images, some spending many hours updating old code
and re-creating new pieces especially for this undertaking.
This book would not exist without you. The second wave
of recognition goes to those who went out of their way to
help me during my research and investigation, particularly
Luigi Oliverio from the International Center for Joachimist
Studies; Glenn Roe and Mark Olsen from the Project for
American and French Research on the Treasury of the French
Language, University of Chicago; Olga Pombo, author
and researcher at the Center for Philosophy of Sciences of
the University of Lisbon; Pablo Rodriguez Gordo, General
Acknowledgments
Sub-directorate of Library Coordination (Spanish Ministry
of Culture); Marcela Elgueda from Fundación Gego; and
Joe Amrhein from Pierogi Gallery.
I would also like to thank the contributing writers
of the last chapter—Christopher Grant Kirwan, David
McConville, Andrew Vande Moere, and Nathan Yau—
whose essays have enriched the book in a remarkable way.
A big thanks to my editor, Linda Lee, for all the advice and
support, and to Alexandre Nakonechnyj, Lev Manovich,
and Fernanda Viegas for their feedback and patient review
of the manuscript. Finally, and most warmly, my caring
gratitude goes to my wife, Joana, for her understanding,
encouragement, and immense patience during my occa-
sional ramblings about networks and visualization and the
long nights spent in front of the computer.
Tom Beddard, Fractal Tree, 2009
A tree representation generated
by a Glynn fractal—a type of Julia
Set fractal—which itself is derived
from a simple mathematical function
that produces a complex pattern by
repeating itself
20
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