Andrea: I don't see any readings
I'm looking on the toolkit at this page:
https://toolkit.virginia.edu/cgi-local/tk/UVa_UNKN_2001_Fall_UNKN25-1/displaymaterials/SESSION:101353439418094:86117553710937
This is the page for Fall term "UNKN25-1 Fall 2001", but I'm presuming
we're using the same one. (If there's a spring page, I don't seem to be
getting it listed in my set of spring courses. Last fall the page just
appeared in my area.)
Am I looking in the wrong place?
Tom
andrea laue wrote:
> Good morning all,
>
> I'm passing along Johanna's outline and annotated bibliography for
> Wednesday. All materials are available on toolkit, with the
> exception of the Schneiderman. Copies of his book, _Readings in
> Information Visualization_, are floating around IATH, if you're
> interested in that reading.
>
> best,
> Andrea
>
> ---------------------------------------
>
> Design Production and Generative Aesthetics
> Knowledge Representation Seminar
> February 13, 2002
>
> Johanna Drucker
>
> The first time I came to the University of Virginia, I gave a talk in
> the "Digital Directions" series in which I used the phrase, "the
> aesthetic massage coefficient of form." Curiously, that phrase has
> not developed the cult following I had expected it to. However,
> packed within the pretentious box-car density of that phrase are
> principles I'd like to return in this session. Primary among these is
> the relation between aesthetics as seduction of eye and mind through
> the use of visual form as a primary site of epistemology. Or, to put
> this in the form of a working question: What is the function of
> aesthetics in digital humanities?
>
> I've assembled readings from three perspectives: generative
> aesthetics, graphic design, and interface design. Max Bense's essay
> is the odd one out, but it's here so the how-to-design aspects of
> this session can be pulled into dialogue with aesthetics from an
> imaginative, artistic perspective.
>
> The list of readings below is ranked in order -- if you can only
> read one thing, read Max Bense's essay, though Paul Mijksenaar is
> succinct and very readily consumed. The summary comments that follow
> below will give you an idea of what is in each of these readings.
>
> Max Bense, "The Projects of Generative Aesthetics," Computers in
> Art , Jasia Reichardt, editor, (London: Studio Vista, 1971)
>
> Paul Mijksenaar, "Visual Information" and "Graphical Variables,"
> Visual Function, (Princeton: Princeton Architectural Press, 1997) pp.
> 28-42
>
> Ellen Lupton and J. Abbott Miller, "Deconstruction and Graphic
> Design," Reading, Writing, Research (NY: Princeton Architectural
> Press, 1996) pp.3-23.
>
> Jacques Bertin, "General Theory," The Semiology of Graphics (Madison:
> University of Wisconsin Press,1983) p.2-13
>
> Theo Mandel, "The Golden Rules of User Interface Design," The
> Elements of User Interface Design (NY: John Wiley & Sons, Inc., 199?)
> pp.47-71.
>
> Stuart K. Card, Jock D. Mackinlay, Ben Shneiderman, "Chapter 1,
> Information Visualization" Readings in Information Visualization (San
> Francisco: Morgan Kaufmann, Publishers Inc., 1999), pp. 1-34.
>
> References and recommendations with summary remarks:
>
> Max Bense, "The Projects of Generative Aesthetics," Computers in
> Art , Jasia Reichardt, editor, (London: Studio Vista, 1971)
> Max Bense's essay is important as a pointer towards the realm of
> artistic intervention in digital media. A classic essay, from the
> 1960s, Bense's work was produced at the intersection of mathematics,
> concrete and visual poetry, and procedural aesthetics -- an aspect of
> minimalism and conceptualism central to artistic practice in the
> 1960s. (The "Information" exhibition at MoMA in 1970 was the first
> summary survey of this work, which gives an idea of the historical
> moment at which the first generation of digital art perceived itself
> as coming of age.)
>
> Paul Mijksenaar, "Visual Information" and "Graphical Variables,"
> Visual Function, (Princeton: Princeton Architectural Press, 1997) pp.
> 28-42
> Not as elegant in design as in concept, this work is most useful for
> its succinct brevity and the economy with which it touches on
> fundamentals. The distinctions of categories of visual information
> and suggestions about effective means of communicating them
> graphically are presented here in a useful shorthand form.
>
> Ellen Lupton and J. Abbott Miller, "Deconstruction and Graphic
> Design," Reading, Writing, Research (NY: Princeton Architectural
> Press, 1996) pp.3-23.
> The best, most serious and lucid of designer-theorists, Lupton and
> Miller demonstrate as well as discuss their principles. The entire
> book is expertly designed, and the lessons it presents in the first
> section could provide a useful foundation for analysis of information
> presentation in print format. They are not, in this work, concerned
> with the electronic space of information manipulation or display.
>
> Jacques Bertin, "General Theory," The Semiology of Graphics (Madison:
> University of Wisconsin Press,1983) p.2-13
> Dry as unsoaked beans, this outline of Bertin's approach to graphics
> provides a foundation for analysis of information and its translation
> into graphic form. This section outlines the entire book in
> schematic, reductive form. The sub-section "A. analysis of
> information" (p.5-6 in the summary, p. 16-39 in the book)is
> particularly useful for humanists, since it provides a working method
> for translating linguistic formulations into graphical diagrams
> comprised of "invariant" and "component" parts. The page comprised of
> the fundamental variables of a graphic system, reproduced in minature
> in Mijksenaar, might be the single most valuable page of information
> in any of these works.
>
> Stuart K. Card, Jock D. Mackinlay, Ben Shneiderman, "Chapter 1,
> Information Visualization" Readings in Information Visualization (San
> Francisco: Morgan Kaufmann, Publishers Inc., 1999), pp. 1-34.
> An extremely useful overview of the field, this introduction to the
> visualization of data in digital environments serves as the synthetic
> summary at the outset of a collection of papers that address specific
> visualization problems, solutions, and software developments. In a
> pedagogical situation, this work provides authoritative grounding in
> the techniques of information visualization, but is utterly unself-
> conscious about aesthetics.
>
> Theo Mandel, "The Golden Rules of User Interface Design," The
> Elements of User Interface Design (NY: John Wiley & Sons, Inc., 199?)
> pp.47-71.
> Completely sensible, well-thought out analysis of interface based on
> principles of cognitive psychology. Useful reading in advance of
> designing an interface and crucial reading for critical discussion of
> interfaces. Absolutely straightforward, how-to from a perspective of
> fundamental principles of human interaction with information in a
> digital environment.
>
> Alan MacEachren, How Maps Are Seen
> Simply the best overall summary of theories of vision, cognition,
> semiotics, mapping, and representation systems. Thorough, lucid,
> reliable. Only overlooks its own aesthetics.
>
> Visual Exercise:
>
> Edward Tufte Envisioning Information or The GraphicDisplay of
> Quantitative Information.
>
> compare with
>
> Robert E. Horn, Visual Language.
-- Dr. Tom Horton, Associate Professor Dept. of Computer Science, University of Virginia 151 Engineer's Way, P.O. Box 400740 Charlottesville, VA 22904-4740 Phone: 434 982-2217 FAX: 434 982-2214 horton@virginia.edu http://www.cs.virginia.edu/~horton
This archive was generated by hypermail 2b30 : Tue Feb 12 2002 - 12:24:40 EST