Hi Tom,
There is a spring site for DHCS -- unkn16-1. It has all materials from
the fall plus the new ones for spring.
best,
Andrea
On Tue, 12 Feb 2002, Tom Horton
wrote:
> 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
>
>
>
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