tag:blogger.com,1999:blog-55326902462427799012024-03-18T00:43:21.903-07:00ChronographicsStephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.comBlogger103125tag:blogger.com,1999:blog-5532690246242779901.post-21546082671451987902023-08-15T04:10:00.002-07:002023-08-15T04:17:41.343-07:00Exhibition in Berlin: Die Chronologiemaschine - Eine visuelle Revolution<p>I am very happy to be contributing to an exhibition in Berlin created by PD Dr Astrit Schmidt-Burkhardt. It is Die Chronologiemaschine - Eine visuelle Revolution des 18. Jahrhunderts.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXIRcFMrQUv_wYjFqAkccYhb416J8PzOcLqNeX_OoF5YnU6sXb714uzKuxuimmYBBPHgu-AMxWuQrAZowQ8kqLwgDKe1lgqEuuWVaDfQ_SbzQRZwbeVwy1h2IUcb0MsXvSSRE2QtuDVflLF2fnwbO9pc_vGHulPWZ6AY597d-y16M6JvMkK8XxSuYwnI/s1968/23-09-07-Chronologiemaschine_Blog-DP-quer.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Image from Die Chronologiemaschine exhibition website" border="0" data-original-height="1127" data-original-width="1968" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXIRcFMrQUv_wYjFqAkccYhb416J8PzOcLqNeX_OoF5YnU6sXb714uzKuxuimmYBBPHgu-AMxWuQrAZowQ8kqLwgDKe1lgqEuuWVaDfQ_SbzQRZwbeVwy1h2IUcb0MsXvSSRE2QtuDVflLF2fnwbO9pc_vGHulPWZ6AY597d-y16M6JvMkK8XxSuYwnI/w400-h229/23-09-07-Chronologiemaschine_Blog-DP-quer.jpg" width="400" /></a></div><div><br /></div><div>The exhibition includes items from the permanent collection of the Staatsbibliothek Berlin, several items belonging to Dr Schmidt-Burkhardt, and just two from me – but that does include my copy of the central work in the exhibition: the Chronology of Jacques Barbeu-Dubourg in book form.</div><div><br /></div>The exhibition blurb, translated from German<blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: left;"><div>What does history become? Who are the protagonists, what is passed on? The doctor and polymath Jacques Barbeu-Dubourg (1709-1779) wanted to record, graphically visualize and make available nothing less than comprehensive world history. To do this, he invented a machine made of paper and glue: the Chronology Machine. Its centrepiece was a horizontal panorama of world history well over sixteen metres long.</div><div><br /></div><div>The exhibition shows the media-archaeological significance of the apparatus and the visual revolution it initiated: the unexpected boom in infographics in the Age of Enlightenment.</div></div></blockquote><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjar02fUu0i1fKRwzzyun6t2_HN-sghZWUWp6Xx1iex3B5jhQc-HcU3NRzBzKd2M06-blWzLh0Y75fUwtGaLhbR7w4OvWnrFidHp23kcSfE9xw8wlFZWtXKstjm-3cxVGZCDKtOfwNl1yvksVlvvHBdZTtzdhovyxiBbCfVp7mnPw_vPVYFZDDc-2PQxM/s6258/11_Vitrine.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Showcases in the Stabi Kulturwerk of the Staatsbibliothek Berlin" border="0" data-original-height="4172" data-original-width="6258" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjar02fUu0i1fKRwzzyun6t2_HN-sghZWUWp6Xx1iex3B5jhQc-HcU3NRzBzKd2M06-blWzLh0Y75fUwtGaLhbR7w4OvWnrFidHp23kcSfE9xw8wlFZWtXKstjm-3cxVGZCDKtOfwNl1yvksVlvvHBdZTtzdhovyxiBbCfVp7mnPw_vPVYFZDDc-2PQxM/w400-h266/11_Vitrine.jpg" width="400" /></a></div><p>Opening dates and times</p><blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><p>Friday 8 September – Sunday 8 October 2023</p><p>Tue-Sun 10am-6pm</p><p>Thu 10am-8pm</p><p>except public holidays</p><p>Admission is free</p></blockquote>Location<blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: left;"><div>Stabi Kulturwerk</div><div>Staatsbibliothek zu Berlin</div><div>Unter den Linden 8</div><div>10117 Berlin</div></div></blockquote><p>In July 2022, the Staatsbibliothek (Berlin State Library) opened a new exhibition area: the Stabi Kulturwerk makes diverse cultural heritage accessible and is a place for joint discovery and research. </p><div><p>Link: <a href="https://blog.sbb.berlin/termin/ausstellung-die-chronologiemaschine-eine-visuelle-revolution-des-18-jahrhunderts/" target="_blank">exhibition website</a> (in German) </p><p> </p><div><p><br /></p></div></div>StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-65596828447059280182022-01-15T08:57:00.000-08:002022-01-15T08:57:01.852-08:00That copy of Barbeu-Dubourg's ‘Chronographie our Description des Tems’<p>Back in 2017, <a href="http://chronographics.blogspot.com/2017/02/">I noted</a> that I had acquired an anonymous chronology that seems to be Barbeu-Dubourg's ‘Chronographie our Description des Tems’ of c1753.</p><p>Recently, my colleague Sarah Mercer, Special Collections Project Officer at the Royal College of Art, very kindly made some excellent scans of the pages.</p><p>Here is a <a href="https://drive.google.com/drive/folders/1ExdTgiAf-uy8N69b_3SnJhiYwjIs1oKq?usp=sharing" target="_blank">link</a> to the Google Drive folder where they are stored. Each scan is about 14,000 x 10,000 pixels.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_QvRddu141_vNLFZJr_hhBgS8KQ58jt79PsP8_1f2WP8y_SUH3IHiPspu9iVZO6BIkwQhK-9HGnOWVtR_llggNy3dF3tLsMS_J7MZxW9xsL-sDn2BT2DwxuL5W5myOWM26J07agXNOaeV7vL3CIHNl7Iswejj6g7VSr-bt_WNBd7TK-IqA5ShmHgC=s4000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2936" data-original-width="4000" height="294" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_QvRddu141_vNLFZJr_hhBgS8KQ58jt79PsP8_1f2WP8y_SUH3IHiPspu9iVZO6BIkwQhK-9HGnOWVtR_llggNy3dF3tLsMS_J7MZxW9xsL-sDn2BT2DwxuL5W5myOWM26J07agXNOaeV7vL3CIHNl7Iswejj6g7VSr-bt_WNBd7TK-IqA5ShmHgC=w400-h294" width="400" /></a></div><br /><p><br /></p>StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-17254277676297460842021-10-12T08:47:00.005-07:002021-10-15T10:00:22.014-07:00Can I believe what I see?<p style="text-align: left;">Our article has at last been published in Interdisciplinary Science Reviews (9 months late!).</p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn7ux87Uscfza9rKDXtHbGdRT1PCqa9dOnkVJUQzSTVws-KikTlqa4HGSSsDrsyQ_X-XgsklrQZLbRz8y3TT_EzKCUtg6ZaUab-IFe3AZvhh-Rt2UN6yBndn7bohe4pzUPdQlLVZSTcKM/s2048/Screenshot+2021-10-12+at+15.49.51.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1609" data-original-width="2048" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn7ux87Uscfza9rKDXtHbGdRT1PCqa9dOnkVJUQzSTVws-KikTlqa4HGSSsDrsyQ_X-XgsklrQZLbRz8y3TT_EzKCUtg6ZaUab-IFe3AZvhh-Rt2UN6yBndn7bohe4pzUPdQlLVZSTcKM/w400-h314/Screenshot+2021-10-12+at+15.49.51.png" width="400" /></a></div><div><br /></div><p style="text-align: left;">My profound thanks to fellow-authors <a href="https://www.oliviavane.co.uk/" target="_blank">Dr. Olivia Vane</a> and <a href="https://www.sari.uzh.ch/en/organisation/staff/florian-kraeutli.html" target="_blank">Dr. Florian Kräutli</a>, and to the Special Issue editor <a href="https://www.unibg.it/ugov/person/1979" target="_blank">Dr. Mario Verdicchio</a>.</p><h3 style="text-align: left;">Abstract</h3><div><blockquote>Questions of trust are increasingly important in relation to data and its use. The authors focus on humanities data and its visualization, through analysis of their own recent projects with museums, archives and libraries internationally. Their account connects the specifics of hands-on digital humanities work to larger epistemological questions. They discuss the sources of potential mistrust, and examine how different expectations and assumptions emerge depending on the use and user of the data; they offer a simple schema through which the implications may be traced. It is argued that vital issues of trust can be engaged with through design, which, rather than being conceived as a cosmetic finish, is seen as contributing insights and questions that affect the whole process. The article concludes with recommendations intended to be useful in both theory and practice.</blockquote><p style="text-align: left;">The article builds on the work that Florian and Olivia did as PhD students at the <a href="https://www.rca.ac.uk/" target="_blank">Royal College of Art</a>, London, and in their subsequent roles at the <a href="https://www.mpg.de/150889/history-of-science" target="_blank">Max Planck Institute for the History of Science, Berlin</a>, the <a href="https://www.sari.uzh.ch/en.html" target="_blank">Swiss Art Research Infrastructure, University of Zurich</a> and on the <a href="https://livingwithmachines.ac.uk/" target="_blank">Living with Machines project at the British Library</a>.</p><p style="text-align: left;"><br /><b>The article is Gold Open Access. </b></p><p style="text-align: left;">You can read it here:</p><p style="text-align: left;"></p><ul style="text-align: left;"><li><b><a href="https://www.tandfonline.com/toc/yisr20/46/4?nav=tocList" target="_blank">The Special Issue</a></b></li><li><b><a href="https://www.tandfonline.com/doi/full/10.1080/03080188.2021.1872874" target="_blank">Direct link to the article</a></b></li></ul><p></p><p style="text-align: left;">Citation: Stephen Boyd Davis, Olivia Vane & Florian Kräutli (2021) Can I believe what I see? Data visualization and trust in the humanities, Interdisciplinary Science Reviews, 46:4, 522-546</p><p style="text-align: left;">The articles in the Special Issue are:</p><p style="text-align: left;"></p><ul style="text-align: left;"><li>Mario Verdicchio (2021) <b>Computing in <i>this</i> world</b>, Interdisciplinary Science Reviews, 46:4, 427-429</li><li>Deborah G. Johnson (2021) <b>What is the relationship between computer technology and ethical issues?</b>, Interdisciplinary Science Reviews, 46:4, 430-439</li><li></li><li>Fabio Fossa (2021) <b>Artificial agency and the game of semantic extension</b>, Interdisciplinary Science Reviews, 46:4, 440-457</li><li>Crystal Hall, Eric Chown & Fernando Nascimento (2021) <b>A critical, analytical framework for the digital machine</b>, Interdisciplinary Science Reviews, 46:4, 458-476</li><li>Patrick Egan (Pádraig Mac Aodhgáin) (2021) <b>Insider or outsider? Exploring some digital challenges in ethnomusicology</b>, Interdisciplinary Science Reviews, 46:4, 477-500</li><li>Marcelo Vianna (2021) <b>Coordinating users to generate the base of the national industry – CAPRE’s role in controlling imports of computers and peripherals (1976–1979)</b>, Interdisciplinary Science Reviews, 46:4, 501-521</li><li>Stephen Boyd Davis, Olivia Vane & Florian Kräutli (2021) <b>Can I believe what I see? Data visualization and trust in the humanities</b>, Interdisciplinary Science Reviews, 46:4, 522-546</li><li>Sébastien Plutniak (2021) <b>Assyrian merchants meet nuclear physicists: history of the early contributions from social sciences to computer science. The case of automatic pattern detection in graphs (1950s–1970s)</b>, Interdisciplinary Science Reviews, 46:4, 547-568</li><li>Juan Luis Gastaldi & Luc Pellissier (2021) <b>The calculus of language: explicit representation of emergent linguistic structure through type-theoretical paradigms</b>, Interdisciplinary Science Reviews, 46:4, 569-590</li><li>Adam Trybus (2021) <b>Russell and the foundations of qualitative spatial reasoning: the first steps</b>, Interdisciplinary Science Reviews, 46:4, 591-608</li></ul><p></p><p style="text-align: left;"><br /><br /></p></div><div style="text-align: left;"><br /></div><div><br /></div><div><br /><p><br /></p></div>StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-53745822066226181292020-01-07T09:31:00.001-08:002020-01-07T09:31:47.697-08:00Congratulating Dr Vane<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKRBDkfjOEAAhDZkHWxwxceTeHnzi2N8WOfgvO69IAwcvUzup1V2i1yVChwnXCis4anZPHAh45RxLPzelsjHGRRZ1NrHBbHfbD4Wt6JKl3PvbetRD-0mc3Po1ZgxCDS8f44zsVMwDTMcg/s1600/IMG_8263.HEIC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKRBDkfjOEAAhDZkHWxwxceTeHnzi2N8WOfgvO69IAwcvUzup1V2i1yVChwnXCis4anZPHAh45RxLPzelsjHGRRZ1NrHBbHfbD4Wt6JKl3PvbetRD-0mc3Po1ZgxCDS8f44zsVMwDTMcg/s320/IMG_8263.HEIC" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prof Stephen Boyd Davis, Olivia Vane, Prof Jane Winters, and Prof Marian Dörk (on screen)</td></tr>
</tbody></table>
On 22 November 2019, Olivia Vane, PhD candidate in Innovation Design Engineering at the RCA, passed her viva – with no revisions required. She will graduate formally at the College’s Winter Convocation in February.<br />
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The examiners were:<br />
<br />
<ul>
<li>Jane Winters, Professor of Digital Humanities & Pro-Dean for Libraries at the School of Advanced Study University of London.</li>
<li>Marian Dörk, Research Professor for Information Visualisation at the Urban Futures Institute of Fachhochschule Potsdam and co-director of UCLAB (via Skype)</li>
</ul>
<br />
The chair was my colleague Dr Sarah Cheang. I am very grateful to her and to the examiners. Thank you also to my fellow-supervisor, Dr John Stevens.<br />
<br />
As observing supervisor, I was privileged to witness a fascinating discussion of key topics in the visualisation of cultural data, focused on <i>value </i>and<i> trust</i>. <br />
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The full text of Olivia’s thesis is available here: <a href="https://www.oliviavane.co.uk//research/TimelineDesignForVisualisingCulturalHeritageData_OliviaVane.pdf" target="_blank">Timeline Design For Visualising Cultural Heritage Data</a>.<br />
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You can learn more about Olivia <b><a href="https://www.oliviavane.co.uk//research/about.html" target="_blank">here</a></b>.<br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-11136916316709218542018-10-12T10:15:00.002-07:002018-10-12T10:15:25.215-07:00Off to Potsdam for Information+ conference 2018...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX29BHAAc0bmYgsxoZ1dteTso9N8QC0eSrJfccDi7dK0Ooy80z6dxX7XxlpG9pCWqxNaA-Y0hFigG0dqlQJypIvw4J4yyNBqn6__PtDVgJSsGvJysR7gIO89AOwsLdlxtUPkGKHcHSDF4/s1600/Information%252B2018.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX29BHAAc0bmYgsxoZ1dteTso9N8QC0eSrJfccDi7dK0Ooy80z6dxX7XxlpG9pCWqxNaA-Y0hFigG0dqlQJypIvw4J4yyNBqn6__PtDVgJSsGvJysR7gIO89AOwsLdlxtUPkGKHcHSDF4/s400/Information%252B2018.png" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoy6UBFDTOrt4QjDSsAyx0h3oczNDQTcxYa4mJ_MGSSiOPo5Ho3-bNvfd_dQpHEr9IVT63NBGtthdk0VBO_3jAOudEN-9I3yzhV6BJoiFXcycD_Oe1YRZYOY5IDYilY0JfOjIKLMqTKtU/s1600/vam_small2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="800" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoy6UBFDTOrt4QjDSsAyx0h3oczNDQTcxYa4mJ_MGSSiOPo5Ho3-bNvfd_dQpHEr9IVT63NBGtthdk0VBO_3jAOudEN-9I3yzhV6BJoiFXcycD_Oe1YRZYOY5IDYilY0JfOjIKLMqTKtU/s400/vam_small2.jpg" width="400" /></a></div>
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Next week, 20 to 21 October 2018, <a href="https://www.oliviavane.co.uk//research/projects.html" target="_blank">Olivia Vane</a> and I will be at the Information+ conference at University of Applied Sciences Potsdam (FH Potsdam), Germany. We will be asking what design contributes – or should contribute – to information design, especially in the digital humanities. Here is our abstract:<br />
<blockquote class="tr_bq">
Designers — what are they good for (in data visualisation)?</blockquote>
<blockquote class="tr_bq">
Our focus is the digital humanities, especially visualisation of datasets such as text archives and object collections data in museums. The name “digital humanities” implies just two disciplines, computing and the humanities. What is the designer’s role? Collectively we should be able to explain what our contribution is —especially when some may fear our replacement by AI systems. We argue that there are particular aspects of designing that are distinctive and can enable more effective visualisations to be produced: (1) expertise in the visual articulation of meaning, (2) human-centric methods, and (3) the quick and adaptable use of low-fidelity early prototyping. We base our argument especially on the idea of design as a form of inquiry or research, and illustrate the three benefits using our recent interactive data visualisations with organisations including the Wellcome Library, Cooper Hewitt Smithsonian Design Museum and V&A London. </blockquote>
It looks a great programme and we expect real progress to emerge around other questions like value and trust in visualisation.<br />
<blockquote class="tr_bq">
SATURDAY, 20 OCT<br />
<ul>
<li><b>Sandra Rendgen</b> KEYNOTE Inventing the future, one visualization at a time</li>
<li><b>Claudia Rebeca Méndez Escarza</b> Mixtec pictorial manuscripts: A source of visual information</li>
<li><b>Günther Schreder + Eva Mayr</b> Quo vadis, Isotype?</li>
<li><b>Sam Holleran </b>A History of “visual literacy” campaigns</li>
<li><b>Will Stahl-Timmins </b>The BMJ visual abstracts</li>
<li><b>Guillermina Noël + Jorge Frascara </b>Designing an optimal document in the health sector</li>
<li><b>Lightning talks: </b>Sol Kawage; Adina Renner; Jessica Bellamy</li>
<li><b>Olivia Vane + Stephen Boyd Davis </b>Designers — what are they good for (in data visualisation)?</li>
<li><b>Sarah Campbell </b>Feeling numbers: The emotional impact of proximity techniques in visualization</li>
<li><b>Doris Kosminsky + Jagoda Walny </b>Belief at first sight: Data visualization and the rationalization of seeing</li>
<li><b>Lightning talks: </b>Sibylle Schlaich + Anita Meier; Valentina D’Efilippo; Nadieh Bremer</li>
<li><b>Grga Basic </b>We Can: Data driven project exploring the lives of NYC canners</li>
<li><b>Kennedy Elliott </b>Think like a journalist: Tips for stronger, clearer and more cohesive visual narratives</li>
<li><b>Reuben Fischer-Baum + Chiqui Esteban</b> KEYNOTE Working in a graphics visual storytelling team</li>
</ul>
SUNDAY, 21 OCT<br />
<ul>
<li><b>Fernanda Viégas + Martin Wattenberg</b> KEYNOTE Data visualization for machine learning</li>
<li><b>Christian Au + Christian Laesser + Stephan Thiel </b>Peakspotting — a visual tool for managing the capacity of Germany’s rail traffic network</li>
<li><b>Raphael Reimann </b>Empathizing with AI: How to see like a selfdriving car</li>
<li><b>Jesse Josua Benjamin + Claudia Müller-Birn </b>Designing for algorithm awareness in peer production systems</li>
<li><b>Pedro M. Cruz </b>Simulated dendrochronology of immigrants and natural-borns in the United States, showing the fifty states (1790–2016)</li>
<li><b>Richard Brath </b>Techniques for adding diverse contextual data into visualizations</li>
<li><b>Yvette Shen </b>Visualizing philosophy: A modern design approach to understand I-Ching</li>
<li><b>Kelly Murdoch-Kitt + Denielle J. Emans </b>Participatory data visualizations support intercultural collaboration</li>
<li><b>Anne Luther </b>Qualitative data visualization: The Entity Mapper</li>
<li><b>Lightning talks: </b>Theodor Hillmann; Fritz Lekschas; Alec Barrett </li>
<li><b>Catherine D'Ignazio </b>Data feminism</li>
<li><b>Greg McInerny </b>Lost in the universe of graphical objects? Critical visualisation, disciplinary myopias and the visualisation spectrum</li>
<li><b>Ron Morrison</b> KEYNOTE Decoding space: Liquid infrastructures</li>
</ul>
</blockquote>
Conference website: <a href="http://informationplusconference.com/">http://informationplusconference.com/</a><br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-5924016434514334962017-08-19T13:14:00.001-07:002017-08-19T13:14:09.031-07:00Printing Time: Workshop on French Almanacs at Waddesdon Manor<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzXWtQw6tBbvI1Nnkoi63Rn-K9KM9oPyIVy7vs0vw2biMJ7N7Jf34l_KHTqLeFGdKNerV0kpVrnl0HFkp57hw4XA9CRHYq2kd574sEy6O93CpGA2oc438ubgRm6qVXZo1fAjKNnpkaGM/s1600/2669.3.42_2000x1875-1024x640.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="1024" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzXWtQw6tBbvI1Nnkoi63Rn-K9KM9oPyIVy7vs0vw2biMJ7N7Jf34l_KHTqLeFGdKNerV0kpVrnl0HFkp57hw4XA9CRHYq2kd574sEy6O93CpGA2oc438ubgRm6qVXZo1fAjKNnpkaGM/s400/2669.3.42_2000x1875-1024x640.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Almanac ‘Calendrier Republican’ 1794. Photo: Waddesdon Manor</td></tr>
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I will be speaking, among expert company, at <a href="https://waddesdon.org.uk/" target="_blank">Waddesdon Manor</a> in Buckinghamshire, UK on Monday 16th October 2017.<br />
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They have announced a workshop in conjunction with <a href="https://waddesdon.org.uk/whats-on/glorious-years-exhibition/" target="_blank">the exhibition <i>Glorious Years: French Calendars from Louis XIV to the Revolution</i></a>. The workshop will explore themes around the production and consumption of French 17th-and 18th-century almanacs (in book and print formats), while also looking at the broader context of the history of Time and its depiction during this period. <br />
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The blurb says:<br />
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Our distinguished speakers are drawn from across disciplines. Confirmed participants include Stephen Boyd Davis (Royal College of Art), <a href="https://en.wikipedia.org/wiki/Adam_Dant" target="_blank">Adam Dant</a> (artist), <a href="https://www.linkedin.com/in/rachel-jacobs-9b044292/" target="_blank">Rachel Jacobs</a> (Waddesdon Manor), <a href="https://fr.wikipedia.org/wiki/Maxime_Pr%C3%A9aud" target="_blank">Maxime Préaud</a> (Bibliothèque nationale de France), <a href="http://cerhio.fr/spip.php?article222" target="_blank">Véronique Sarrazin</a> (Université d'Angers, Laboratoire CERHIO) and <a href="http://www.history.ac.uk/about/matthew-shaw" target="_blank">Matthew Shaw</a> (Institute of Historical Research, UCL).</blockquote>
I will be talking about the changing conceptions of historical time and how that was represented graphically from the mid- through to the late eighteenth century.<br />
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There will be an opportunity to visit the exhibition during the day with curator Rachel Jacobs and artist Adam Dant.<br />
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To register an interest in attending please email diane.bellis [at] nationaltrust.org.uk. There is a charge of £25 for the day which covers all catering costs. To secure a place, call the Waddesdon booking office 01296 653226 to pay using either a debit or credit card.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzCFuBZIQ38LAW7u4W3XQ4h1_rDgKv427q1AHbIml_IRogZ8pa4Od-EVHsy9gn_0HbATdwAAmd_wGouDe4mjwwUufBrvVpshCfHw7X3x0m3tgI4v5QRpDZ4ARVS7mJIhI4P5OkxRsUJw/s1600/Construction-3000x1500-2000x1000.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzCFuBZIQ38LAW7u4W3XQ4h1_rDgKv427q1AHbIml_IRogZ8pa4Od-EVHsy9gn_0HbATdwAAmd_wGouDe4mjwwUufBrvVpshCfHw7X3x0m3tgI4v5QRpDZ4ARVS7mJIhI4P5OkxRsUJw/s400/Construction-3000x1500-2000x1000.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Waddesdon nearing completion in 1883. Photo: Waddesdon Manor</td></tr>
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The exhibition from 22 March to 29 October 2017 includes 26 printed wall almanacs and 7 bound volumes.<br />
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StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-88091807164791191452017-07-26T09:56:00.000-07:002017-07-26T09:56:22.217-07:00Dr Florian Kräutli speaks at British Museum event. @AlumniRCA<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMfJ5V2_tQ7-Q0JOYMti6hfswbrqMsmmKJIn3621615gNNnGlQ4zoCv_8NMbC_DWdDGtU72SfimCyVAiwHnkl1eXSHXCqwF4HCW0L3d5wrZ6kxzsI4hpr0Ehkg2i3Bl-G1JobQGOgdCw8/s1600/concourse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="875" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMfJ5V2_tQ7-Q0JOYMti6hfswbrqMsmmKJIn3621615gNNnGlQ4zoCv_8NMbC_DWdDGtU72SfimCyVAiwHnkl1eXSHXCqwF4HCW0L3d5wrZ6kxzsI4hpr0Ehkg2i3Bl-G1JobQGOgdCw8/s400/concourse.jpg" width="400" /></a></div>
It's good to see Florian Kräutli, <a href="http://research.kraeutli.com/index.php/author/florian/" target="_blank">formerly my PhD student at the Royal College of Art</a>, and now Research Technology Officer at the Max Planck Institute for the History of Science in Berlin, talking at the ResearchSpace Symposium ‘Building cultural heritage knowledge’ at the British Library tomorrow and Friday (27th and 28th July 2017).<br />
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The event is now full, but you can read about it here: <a href="https://www.eventbrite.co.uk/e/building-cultural-heritage-knowledge-tickets-33012703886" target="_blank">Eventbrite</a><br /><br />
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Funded by the Andrew W. Mellon Foundation, the conference highlights the challenges for sustainable knowledge building between cultural heritage institutions, universities and other interested audiences. Papers will include the principles, methodology, techniques and viewpoints of people and projects attempting to answer these questions and provide practical solutions.<br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-87306678371574942112017-07-11T13:20:00.000-07:002017-07-11T13:20:38.819-07:0012 July. Boyne? Aughrim? calendars!It seems so appropriate that the very date of commemoration of the Battle of the Boyne is bound up with the same religious differences that underlay the battle itself. The Gregorian calendar was regarded by many protestants as a popish conspiracy.<br />
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From BBC History ‘<a href="http://www.bbc.co.uk/history/events/battle_of_the_boyne" target="_blank">The Battle of the Boyne</a>’<br />
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The Battle of the Boyne was fought on 1 July 1690, according to the old Julian calendar. This was reformed and replaced with the Gregorian calendar across the British Empire in 1752, repositioning the 'date' of the Battle of the Boyne to 11 July. The method of altering historical dates was somewhat complicated, with eleven days being added to 'old style' dates occurring after 1700, but only ten days to those taking place before that.</blockquote>
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There is some dispute over whether celebrating on 12 July is simply the result of a slight historical miscalculation, or a case of the Battle of the Boyne replacing the Battle of Aughrim (another important battle in the Williamite War which took place on 12 July in the Julian calendar) as the focus of commemoration. Either way, William's victory at the Battle of the Boyne has been celebrated on 12 July for over 200 years.</blockquote>
Eviatar Zerubavel’s 2003 <i><a href="http://press.uchicago.edu/ucp/books/book/chicago/T/bo3640224.html" target="_blank">Time Maps: Collective Memory and the Social Shape of the Past</a></i> is excellent on our obsession with anniversaries.<br />
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StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-23198991761882734002017-06-25T09:18:00.001-07:002017-06-25T09:18:28.667-07:00Exploring the Cooper Hewitt collection with timelines and tagsOlivia Vane, AHRC-funded doctoral student supervised at the RCA by myself and Dr John Stevens, has been doing a great job this summer on an AHRC International Placement at the Copper Hewitt in New York.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaz2tGqW-Fynpl_7NTdN_ATxnnWm5CgAnyguCvc9CeSdzhSyEL714rfxz0OJ-VB7HCUdyPycgj0-Z4MpJ968NUyhJlABQQIJx2oHeJUKulfS8x8nb0J5IqcqYUZ-7x4mkSWvbRMrPQtx8/s1600/IMG_1233.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="292" data-original-width="375" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaz2tGqW-Fynpl_7NTdN_ATxnnWm5CgAnyguCvc9CeSdzhSyEL714rfxz0OJ-VB7HCUdyPycgj0-Z4MpJ968NUyhJlABQQIJx2oHeJUKulfS8x8nb0J5IqcqYUZ-7x4mkSWvbRMrPQtx8/s400/IMG_1233.jpg" width="400" /></a></div>
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She is continuing to pursue our core questions concerned with making visual sense of history – currently exploiting the tags that curators have applied to objects in the collection to draw out a range of different connections and narratives. This week she is trialling the designs in a public space in the museum, and gathering feedback from visitors.<br />
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Many thanks to all at the Cooper Hewitt who are encouraging and supporting this important work.<br />
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Olivia's guest blog post: <a href="https://labs.cooperhewitt.org/2017/exploring-the-cooper-hewitt-collection-with-timelines-and-tags-guest-post-by-olivia-vane/" target="_blank">Cooper Hewitt Labs</a>.<br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-24470943147077061732017-03-12T08:57:00.001-07:002017-03-12T08:57:44.050-07:00Scientiae conference 2017 @AcadScientiae<br />
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In April I shall have the pleasure of participating in the 2017 Scientiae conference at the University of Padua.<br />
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My presentation is:<br />
<b>‘Plain truth and common sense’ in Joseph Priestley’s 1765 Chart of Biography</b><br />
Joseph Priestley (1733-1804) contributed significantly to visual historiography, developing forms of information visualisation in which events in time are organised diagrammatically in preference to textual tables or metaphoric figures. The emerging aesthetic was one of mechanisation, mathematisation and – influenced by geography and cartography – an increasing tendency to treat time as though it were directly analogous to space. Abstemious presentations of events in a temporal space were preferred to rhetorical, metaphorical presentations of the shape of history. This raises the question: why did Priestley’s 1765 Chart of Biography take the form it did? The paper will trace answers through contemporary changes in visual and intellectual culture and by examining Priestley's personal disposition – informed as it was by a mix of his non-conformist religious convictions, his suspicion of rhetoric (‘sooner would I teach the art of poisoning than that of sophistry’<sup><span style="font-size: xx-small;">1</span></sup>), and his beliefs concerning the nature of human knowledge. The paper will investigate the roots of Priestley’s optimism when he anticipated that ‘plain truth’ if presented to our ‘common sense’ would lead inevitably to right understanding.<sup><span style="font-size: xx-small;">2</span></sup> He assumed that if knowledge is presented through ‘the language of the naked facts’ then they ‘cannot but be understood wherever they are known.’<sup><span style="font-size: xx-small;">3</span></sup> The argument will be articulated through analysis of the visual artefacts created by Priestley and his contemporaries, together with texts authored by Priestley in a range of disciplines including biblical exegesis, pedagogy and natural philosophy.<br />
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<span style="font-size: xx-small;">1. Joseph Priestley. 1777. A Course of Lectures on Oratory and Criticism. London: Johnson. Page 54.</span><br />
<span style="font-size: xx-small;">2. Joseph Priestley. 1782. A History of the Corruptions of Christianity. London: Johnson. Vol.1. Page 171.</span><br />
<span style="font-size: xx-small;">3. op. cit. p.114</span><br />
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Link to the <a href="http://scientiae.co.uk/conferences/padua-2017/" target="_blank">conference pages</a>StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-68833977133430097652017-02-03T07:25:00.000-08:002017-02-03T07:39:02.947-08:00Another copy of Barbeu-Dubourg's Carte ChronographiqueI was lucky recently to buy a copy of what seems almost certainly to be Barbeu-Dubourg's <i>Carte Chronographique</i> (see <a href="http://chronographics.blogspot.co.uk/2009/08/first-modern-timeline.html" target="_blank">this post</a> from 2009). Sadly the 35 copper-engraved printed plates are mounted in a book, not in the 'machine chronologique' that the Princeton University Library has, but that would be too much to ask.<br />
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There are many small points of difference from the Princeton edition which I hope eventually to document. In the meantime, here are some preliminary rough photographs...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQneFgZeos9sk5H64v89qXLUwJm30sdnQp0B_MwrBs092iBs8D91xuZep_t7JXxUZm62wyhb9qvUH0embUxJng7euSOaqHAJP273cTLNu3PC0wHRvcqO1idnFPSdyPXunXDZ0s8RwzMow/s1600/P1020388.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQneFgZeos9sk5H64v89qXLUwJm30sdnQp0B_MwrBs092iBs8D91xuZep_t7JXxUZm62wyhb9qvUH0embUxJng7euSOaqHAJP273cTLNu3PC0wHRvcqO1idnFPSdyPXunXDZ0s8RwzMow/s400/P1020388.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barbeu-Dubourg's <i>Carte Chronographique</i>. The chart begins with God, Adam and Eve. The symbols next to the names are not the same as those in the Princeton copy. Collection and photo: Stephen Boyd Davis.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Barbeu-Dubourg's <i>Carte Chronographique</i>. A detail of the last entries including the Battle of Culloden 1746 and the Treaty of Aix-la-Chapelle 1748. Collection and photo: Stephen Boyd Davis.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Barbeu-Dubourg's <i>Carte Chronographique</i>. A detail of entries modified (in rather ugly handwriting) by a previous owner. Collection and photo: Stephen Boyd Davis.</td></tr>
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-70287310998311182962017-01-02T12:54:00.000-08:002017-01-02T12:54:18.643-08:00John Berger 1926-2017In memory of John Berger. <br />
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<b>About Time</b>. Channel Four, 1985.<br />
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YouTube <a href="https://youtu.be/USzGCdoLhjQ" target="_blank">https://youtu.be/USzGCdoLhjQ</a><br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-68430965981166047152016-12-02T05:28:00.001-08:002016-12-02T05:28:19.448-08:00Information Design: research and practice. Important new book<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWTVQnHQnyjwxqBRAhE9ZwVO0sYWO9FMXhIXq3QFWRQycLAcnhhrAk6HLxRjOtTGNkxCri6m5csaNdTc9uTRikQ7zoJuE3ndW3ZyRVoswk1GqhQNuoN4MiD0r49obW5omg0cbCupsGpRQ/s1600/Information+Design+-+Research+and+Practice+book+2016.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWTVQnHQnyjwxqBRAhE9ZwVO0sYWO9FMXhIXq3QFWRQycLAcnhhrAk6HLxRjOtTGNkxCri6m5csaNdTc9uTRikQ7zoJuE3ndW3ZyRVoswk1GqhQNuoN4MiD0r49obW5omg0cbCupsGpRQ/s400/Information+Design+-+Research+and+Practice+book+2016.png" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Information Design: research and practice</i> published by Routledge</td></tr>
</tbody></table>
I have a chapter in this substantial and important book. My chapter focuses on the visualization of historical time, illustrated by key examples from the eighteenth century when the modern timeline was invented. We are fortunate in having not only surviving examples of printed timelines from the period but also explanations written by their makers, revealing the ambitions they had for visualisation. An important divergence is evident, between those who want to use rhetorical visual metaphors to tell a graphical story, and those who prefer to let the data ‘speak for itself’, allowing patterns to emerge from the distribution of data points across a surface. I trace this history through to modern debates about the role of rhetoric in visualisation. Does data talk, or do we need to talk on its behalf?<br />
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<h3>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh76rlShedq1JwC0GDou2jDm_9wjnkSm7AD2ixyOwkflXpc4cmQ6AMXdquJSS_AbMGgGJfsxX3b8_BaVBVnjUQM_iemKnYX2quZprmS5W99QfASdiw6Ks6vIerz-IVNYGpqYeaQYL6YtCk/s1600/P1190165+Weigel+Volvelle+1720+detail.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh76rlShedq1JwC0GDou2jDm_9wjnkSm7AD2ixyOwkflXpc4cmQ6AMXdquJSS_AbMGgGJfsxX3b8_BaVBVnjUQM_iemKnYX2quZprmS5W99QfASdiw6Ks6vIerz-IVNYGpqYeaQYL6YtCk/s400/P1190165+Weigel+Volvelle+1720+detail.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption">Weigel, Christoph. 1720. <i>Discus chronologicus</i>. Nuremberg. 51cm × 49cm (detail). Collection and photo: Stephen Boyd Davis.</td></tr>
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</h3>
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Citation: ‘<b>To see at one glance all the centuries that have passed’ - early visualisations of historical time</b>. In: Black, A., Luna, P., Lund, O. and Walker, S (eds). <i>Information Design: research and practice</i>. London: Routledge. 3-22.<br />
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<h3>
About the Book</h3>
Information Design: research and practice<br />
Edited by Alison Black, Paul Luna, Ole Lund, Sue Walker<br />
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750 pages | 314 Color Illustrations<br />
<br />
Information Design provides citizens, business and government with a means of presenting and interacting with complex information. It embraces applications from wayfinding and map reading to forms design; from website and screen layout to instruction. Done well it can communicate across languages and cultures, convey complicated instructions, even change behaviours. Information Design offers an authoritative guide to this important multidisciplinary subject. The book weaves design theory and methods with case studies of professional practice from leading information designers across the world. The heavily illustrated text is rigorous yet readable and offers a single, must-have, reference to anyone interested in information design or any of its related disciplines such as interaction design and information architecture, information graphics, document design, universal design, service design, map-making and wayfinding.<br />
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<h4>
Part 1 </h4>
<blockquote class="tr_bq">
Chapter 1. Early visualizations of historical time [my chapter]<br />Chapter 2. Images of time<br />Chapter 3. William Playfair and the invention of statistical graphs<br />Chapter 4. Ship navigation<br />Chapter 5. Technical and scientific illustration<br />Chapter 6. The lessons of Isotype for information design<br />Chapter 7. Marie Neurath: designing information books for young people<br />Chapter 8. Future, Fortune, and the graphic design of information<br />Chapter 9. Some documents for a history of information design<br />Chapter 10. Moral visualizations </blockquote>
<h4>
Part 2 </h4>
<blockquote class="tr_bq">
Chapter 11. Graphic literacies for a digital age<br />Chapter 12. Visual rhetoric in information design<br />Chapter 13. Multimodality and genre<br />Chapter 14. Interactive information graphics<br />Chapter 15. Social and cultural aspects of visual conventions in information<br />Chapter 16. Textual reading on paper and screens<br />Chapter 17. Applying science to design </blockquote>
<h4>
Part 3 </h4>
<blockquote class="tr_bq">
Chapter 18. Does my symbol sign work?<br />Chapter 19. Icons as carriers of information<br />Chapter 20. Warning design<br />Chapter 21. Diagrams<br />Chapter 22. Designing static and animated diagrams for modern learning materials<br />Chapter 23. Designing auditory alarms<br />Chapter 24. Design challenges in helping older adults use digital tablets<br />Chapter 25. On-screen colour contrast for visually impaired readers<br />Chapter 26. Contrast set labelling<br />Chapter 27. Gestalt principles<br />Chapter 28. Information design research methods<br />Chapter 29. Methods for evaluating information design<br />Chapter 30. Public information documents </blockquote>
<h4>
Part 4 </h4>
<blockquote class="tr_bq">
Chapter 31. Choosing type for information design<br />Chapter 32. Indexing and information design<br />Chapter 33. When to use numeric tables and why<br />Chapter 34. Wayfinding perspectives<br />Chapter 35. Designing for wayfinding<br />Chapter 36. The problem of ‘straight ahead’ signage<br />Chapter 37. Park at your peril<br />Chapter 38. Indoor digital wayfinding<br />Chapter 39. Visualizing storyworlds<br />Chapter 40. Exhibitions for learning<br />Chapter 41. Form follows user follows form<br />Chapter 42. Information design & value<br />Chapter 43. The LUNAtic approach to information design<br />Chapter 44. Information design as a (r)evolutionary educational tool<br />Chapter 45. Design + medical collaboration<br />Chapter 46. Developing persuasive health campaign messages<br />Chapter 47. Information design in medicine package leaflets<br />Chapter 48. Using animation to help communication in e-PILs in Brazil<br />Chapter 49. Medical information design and its legislation</blockquote>
Paperback to be published 7 January 2017. Available for pre-order £50.00.<br />
<br />
Routledge <a href="https://www.routledge.com/Information-Design-Research-and-Practice/Black-Luna-Lund-Walker/p/book/9780415786324" target="_blank"><b>page about the book</b></a>.StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-47693650908952972132016-11-02T04:48:00.001-07:002016-11-02T04:48:25.868-07:00Olivia at Wellcome Data WeekOlivia Vane, doctoral student in chronographics at the RCA, is working all week at the Wellcome Library. Data Week is an exploration of the Library’s digital catalogue. It brings together a multidisciplinary group of researchers, data wranglers and developers in a week-long project to experiment and play with a selection of the Library’s digital data, from medical officer of health reports dating back more than 150 years, to over 3000 AIDS posters.<br />
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Throughout the week they are exploring novel forms of research and engagement that the digital can offer. By Friday, there should be several prototype examples of how Wellcome’s digital data can be used in new and exciting ways.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1ofz_ZchC2GCyVirNuMPllGGJYUeryXvYq_EOJdCm_MxBi0C8CiTyjB2zRGXnnWuWhWZFfetEMcBwh-2lMLCkAx0r5-XiYalYoKzCPEndehCRQ5s8vPsyXGG8RmGoRWtNBpSVmR9fiM/s1600/Olivia+at+Wellcome+2016-11-02+at+11.39.26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1ofz_ZchC2GCyVirNuMPllGGJYUeryXvYq_EOJdCm_MxBi0C8CiTyjB2zRGXnnWuWhWZFfetEMcBwh-2lMLCkAx0r5-XiYalYoKzCPEndehCRQ5s8vPsyXGG8RmGoRWtNBpSVmR9fiM/s400/Olivia+at+Wellcome+2016-11-02+at+11.39.26.png" width="400" /></a></div>
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See the <b><a href="https://wordpress31554.wordpress.com/2016/11/01/day-2-chemist-and-druggist/" target="_blank">Wellcome Data Week blog</a></b>.StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-59215124540594262602016-09-05T06:47:00.000-07:002016-09-05T12:04:56.617-07:00Two papers for Design and Time at DHS Conference 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitbdU9u-UINkg_aGtuJkXO7tKEDF7O3w6StCXMa_mE13zdep-FEjCiKBxc3PZ1sk6INKidZwGeOmep3Ytcpgq8Pmhfkg1Qnha1chnvDDTjNIj8eth4XUhc7MhuosIn9QxKj7k4C3Ht98k/s1600/DHS+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitbdU9u-UINkg_aGtuJkXO7tKEDF7O3w6StCXMa_mE13zdep-FEjCiKBxc3PZ1sk6INKidZwGeOmep3Ytcpgq8Pmhfkg1Qnha1chnvDDTjNIj8eth4XUhc7MhuosIn9QxKj7k4C3Ht98k/s400/DHS+2016.png" width="400" /></a></div>
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All three PhD students who have worked at the Royal College of Art with me on visualising historical time will be participating in the Design History Society conference 2016, which this year is on the theme of Design and Time. <b>Olivia Vane</b> and <b>Sam Cottrell</b> are continuing their studies, while Dr. <b>Florian Kräutli</b>, who graduated in July, is now at the Max Planck Institute for the History of Science in Berlin.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-BUjYQ8WggFIUKcwyWhgrUHsFuJxo_whHNeVcM02bYBB3i2814iih4jJOG0cQTWNT_B6cdSotnLK0dWqS4xpdbVdzyhaGBb_ycaUowMI54lN_51_8lWRimClYlyU6fNT_pFmDPVUlCw4/s1600/MPIWG.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-BUjYQ8WggFIUKcwyWhgrUHsFuJxo_whHNeVcM02bYBB3i2814iih4jJOG0cQTWNT_B6cdSotnLK0dWqS4xpdbVdzyhaGBb_ycaUowMI54lN_51_8lWRimClYlyU6fNT_pFmDPVUlCw4/s400/MPIWG.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Max Planck Institute for the History of Science / Max-Planck-Institut für Wissenschaftsgeschichte</td></tr>
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Our aim in these presentations will be to raise the level of debate about dates. Since chronology moved from being a proper discipline in the seventeenth century to a kind of silent scaffold for knowledge in the eighteenth century, we have all tended not to take dates seriously.<br />
<br />
Our presentations are a plea for a deeper engagement between disciplines in tackling these problems, where dates are obviously valuable data, but also a problem. Visualisation reveals ‘good’ information - info we hoped and expected to see - but also ‘bad’ information that forces us (all) to think more deeply about the way we position objects in time, both as historians and as designers.<br />
<br />
The conference is at Middlesex University where, as it happens, my work on these themes began, helped by two enterprising Masters students, <b>Emma Bevan</b> and <b>Aleksei Kudikov</b>. Speaking of which, we will also have the pleasure of presenting with <b>Zoë Hendon</b>, Head of Collections at the university’s Museum of Domestic Design and Architecture, who supported that project back in 2009 and who has collaborated so generously with us again recently.<br />
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Links<br />
<ul>
<li>Conference <a href="http://designandtime2016.co.uk/" target="_blank">website</a></li>
<li>Panel on <a href="http://designandtime2016.co.uk/visualising-time-data-and-the-archive/" target="_blank">visualising time - data and the archive</a></li>
<li><a href="http://www.designhistorysociety.org/" target="_blank">Design History Society</a> </li>
<li><a href="https://www.mpiwg-berlin.mpg.de/" target="_blank">Max Planck Institute for the History of Science</a></li>
<li><a href="http://www.moda.mdx.ac.uk/" target="_blank">Museum of Domestic Design and Architecture</a></li>
</ul>
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-37095908133583506952016-07-30T13:56:00.001-07:002016-07-30T13:56:07.829-07:00Using Data Visualisation to tell Stories about CollectionsOn Thursday 14th July, Olivia Vane and I presented a paper 'Using Data Visualisation to tell Stories about Collections' at the Electronic Visualisation and the Arts London conference held at the British Computer Society. It was co-authored with our recent graduate Dr. Florian Kräutli, now of the Max Planck Institute for the History of Science in Berlin.<br />
<br />
Here's the abstract:<br />
<blockquote class="tr_bq">
The paper explores visualisation of 'big data' from digitised museum collections and archives, focusing on the relationship between data, visualisation and narrative. A contrast is presented between visualisations that show 'just the data' and those that present the information in such a way as to tell a story using visual rhetorical devices; such devices have historically included trees, streams, chains, geometric shapes and other forms. The contrast is explored through historical examples and a survey of current practice. A discussion centred on visualising datasets from the British Library, Science Museum and Wellcome Library is used to outline key research questions.</blockquote>
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And here are a few of the illustrations we used:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3AZ3-EwatJwa9DEcEMSSZhP1juqdCOvb4bbMIJ_JGTQ0M54AR5P_egC5iiwqbFYG9fkfrMCNRCpOV91IGU-pLNUhXArAlBU-7h7E0_h4Y4gaR4iSIEEQ_UgyyjMmdD0fKcdDRj6dPp6U/s1600/Christoph+Weigel.+1720.+Discus+Chronologicus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3AZ3-EwatJwa9DEcEMSSZhP1juqdCOvb4bbMIJ_JGTQ0M54AR5P_egC5iiwqbFYG9fkfrMCNRCpOV91IGU-pLNUhXArAlBU-7h7E0_h4Y4gaR4iSIEEQ_UgyyjMmdD0fKcdDRj6dPp6U/s400/Christoph+Weigel.+1720.+Discus+Chronologicus.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christoph Weigel. 1720. <i>Discus Chronologicus</i>. Nuremberg: Weigel. Collection and photo: Stephen Boyd Davis</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LcAgTjFpLi4_jU1FzNNtua4NuH1NnnyaxIu1SYmnyH1OiRhMvE4mQSMNKGfJB7FqHcOj6IgvvMtp7IYAomIzcYuN1gpvOoqiac_G2xPRDBi8QJMrnHx5PObzGkaxXhXvWW4HD87WVzI/s1600/Stream+of+Time%252C+or+Chart+of+Universal+History+from+the+German+of+Strass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LcAgTjFpLi4_jU1FzNNtua4NuH1NnnyaxIu1SYmnyH1OiRhMvE4mQSMNKGfJB7FqHcOj6IgvvMtp7IYAomIzcYuN1gpvOoqiac_G2xPRDBi8QJMrnHx5PObzGkaxXhXvWW4HD87WVzI/s400/Stream+of+Time%252C+or+Chart+of+Universal+History+from+the+German+of+Strass.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Stream of Time, or Chart of Universal History from the German of Strass</i>. London: 1849. Collection and photo: Stephen Boyd Davis</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8STCO86SHgEmJe6lZlmw76WNZ_tnfRARZ4Cu_MDmH53XULTtkJILlXh05tW-Xcn_U9EmF2SNTpm2ZKFtAk2MDM9bVhmpnhjmzTBRhNgLk_iFRX6ou1EVn7tr_Uyma2OKdKMycvJtsmg4/s1600/Barbeu-Dubourg%252C+Jacques.+1753.+Chronography+or+Depiction+of+Time.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8STCO86SHgEmJe6lZlmw76WNZ_tnfRARZ4Cu_MDmH53XULTtkJILlXh05tW-Xcn_U9EmF2SNTpm2ZKFtAk2MDM9bVhmpnhjmzTBRhNgLk_iFRX6ou1EVn7tr_Uyma2OKdKMycvJtsmg4/s400/Barbeu-Dubourg%252C+Jacques.+1753.+Chronography+or+Depiction+of+Time.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barbeu-Dubourg, Jacques. 1753. <i>Chronography or Depiction of Time</i>. Rare Books Collection, Princeton University Library (used with permission). Photo: Stephen Boyd Davis.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfafCUsKh0O25kjRCOl2DWCEFI01b9XJfFqUHWJJ6ACs6K6Sbj6C8kW9IcZ8NldqzYuYndv-MQKAcPtnBQnwSCqgF-MP_cTq976Q1EsoTu2OhVG0bIxlZswnppbsOBRMNgIhPOn7GhcmQ/s1600/Florian+Kr%25E2%2580%25A2utli.+2015.++Britten%25E2%2580%25A2s+Poets+visualisation+for+Britten-Pears+Foundation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfafCUsKh0O25kjRCOl2DWCEFI01b9XJfFqUHWJJ6ACs6K6Sbj6C8kW9IcZ8NldqzYuYndv-MQKAcPtnBQnwSCqgF-MP_cTq976Q1EsoTu2OhVG0bIxlZswnppbsOBRMNgIhPOn7GhcmQ/s400/Florian+Kr%25E2%2580%25A2utli.+2015.++Britten%25E2%2580%25A2s+Poets+visualisation+for+Britten-Pears+Foundation.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Florian Kräutli. 2015. <i>Britten's Poets</i> - visualisation for Britten-Pears Foundation, Aldeburgh UK.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1XEAmsDDovY2hdMG5wmy77QhsS2jCCJQE5fRvTmoyugqTence6iHo9jEbhcpBzBCS3lyy3mUCATqbwjw9zYqT59-m496UfukZrUrHemVgx8CwqKUtUfOhECu65tJPkZWdEmFtTfqF_c/s1600/Olivia+Vane.+2016.++Visualisation+of+Medical+Office+of+Health+Reports+data.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1XEAmsDDovY2hdMG5wmy77QhsS2jCCJQE5fRvTmoyugqTence6iHo9jEbhcpBzBCS3lyy3mUCATqbwjw9zYqT59-m496UfukZrUrHemVgx8CwqKUtUfOhECu65tJPkZWdEmFtTfqF_c/s400/Olivia+Vane.+2016.++Visualisation+of+Medical+Office+of+Health+Reports+data.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olivia Vane. 2016. <i>Visualisation of Medical Office of Health Reports data</i> at Wellcome Library: 'typhoid carrier'.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeYdBbQVCUqLmStBPXEhsn3SWHBch82-X9K9h1TJDpQxu4hmGVUYgu0k8FkIeCyTi3F7asX4l6nhCLr3MksUNFbL6g8iD0n9B9x0iV-yldowR4kpSQjR24NtdwgNH74zAiKCdm25lONSA/s1600/Olivia+Vane.+2016.++Visualisation+of+Medical+Office+of+Health+Reports+data+DETAIL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeYdBbQVCUqLmStBPXEhsn3SWHBch82-X9K9h1TJDpQxu4hmGVUYgu0k8FkIeCyTi3F7asX4l6nhCLr3MksUNFbL6g8iD0n9B9x0iV-yldowR4kpSQjR24NtdwgNH74zAiKCdm25lONSA/s400/Olivia+Vane.+2016.++Visualisation+of+Medical+Office+of+Health+Reports+data+DETAIL.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olivia Vane. 2016. <i>Visualisation of Medical Office of Health Reports</i> data at Wellcome Library: 'typhoid carrier' (detail).</td></tr>
</tbody></table>
We concluded with some research questions about data visualisation and narrative:<br />
<br />
<ul>
<li>What form(s) should we adopt?</li>
<li>To what degree can a story be brought out using computation?</li>
<li>How can we support rapid apprehension from uncluttered displays, but still provide depth of information where it is needed?</li>
<li>What literary narrative devices can be translated into visual terms?</li>
<li>What forms of inquiry are best framed in narrative terms?</li>
<li>Who narrates?</li>
</ul>
<br />
<br />
And we were very pleased to receive the EVA 2016 'Best Paper' award!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4UsWfOzgcVNygsoesIakLyqkt4OGa_Esvlr2w49FwzZkKW6jDlAoKMdldfsgvdEoNSgOMi5bw7Gtm4C0zab7uY-WiPlBaKblKrYe6N93B23iUxfpSb0UWoSDbtEA7Jn7sEhIpr-ZyJs/s1600/Olivia%252BStephen%2540EVA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4UsWfOzgcVNygsoesIakLyqkt4OGa_Esvlr2w49FwzZkKW6jDlAoKMdldfsgvdEoNSgOMi5bw7Gtm4C0zab7uY-WiPlBaKblKrYe6N93B23iUxfpSb0UWoSDbtEA7Jn7sEhIpr-ZyJs/s400/Olivia%252BStephen%2540EVA.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olivia Vane, Stephen Boyd Davis at EVA 2016. Photo: Sam Cottrell.</td></tr>
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<br />
Read the paper on the BCS website <a href="http://ewic.bcs.org/content/ConWebDoc/56286" target="_blank"><b>here</b></a>.<br />
<br />
<br />
<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-44076211396905408782016-06-10T07:13:00.001-07:002016-06-10T07:13:18.062-07:00Sensing Time event at the V&A, Saturday 18 June 2016On Saturday <b>18 June</b>, I will be contributing a talk to a study day in London jointly organised by the V&A and the Science Museum.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0uL5dilYtwcAFOYZXJbDmn6hAZuHpRh8DmpheULLA4BjHzkY3ENJaOvc2z1_ncg0HEB8rtutvpVAeD1w5yQht-r5wraY9Dhq6Ykw8NdmujNA4xyHGdxkE2RSjBTxqGBO7JkZw2td-bU/s1600/V%2526A+study+day+18+June+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0uL5dilYtwcAFOYZXJbDmn6hAZuHpRh8DmpheULLA4BjHzkY3ENJaOvc2z1_ncg0HEB8rtutvpVAeD1w5yQht-r5wraY9Dhq6Ykw8NdmujNA4xyHGdxkE2RSjBTxqGBO7JkZw2td-bU/s400/V%2526A+study+day+18+June+2016.png" width="400" /></a></div>
<br />
Though the day is called 'Sensing Time: The Art and Science of Clocks and Watches' I won't be talking about either clocks or watches! Instead I will focus on the 'mechanical' aspects of diagrams of historic time. Here is the blurb for the day:<br />
<blockquote class="tr_bq">
Time is of the essence. This truth is visible, tangible and audible in the masterpieces of horology in collections across the globe. This interdisciplinary study day will bring together international expertise from curators, makers and conservators. It will explore the different priorities for collecting clocks and watches from exquisite decoration, to materials, mechanics and technological innovation.</blockquote>
<div>
It looks like a superb array of presentations and speakers. Here is the outline:<br />
<br />
<ul>
<li>10.20 Introduction and Welcome Matty Pye, Department of Learning V & A</li>
<li>10.30 <b>Stillness or Movement: Sight and Touch </b>Chair: Tessa Murdoch, Deputy Keeper Sculpture, Metalwork, Ceramics and Glass V&A</li>
<ul>
<li><b><i>Making Time: How to make a clock or watch</i></b> Anna-Rose Kirk and James Harris, Independent clock makers</li>
<li><b><i>An Eighteenth-Century Astronomical Clock</i></b> Peter Plaßmeyer, Director Mathematisch-Physikalischer Salon, Staatliche Kunstsammlungen Dresden</li>
<li><b><i>The Henlein Watch: an iconic timepiece taken apart</i></b> Thomas Eser, Germanisches Nationalmuseum, Nuremberg </li>
</ul>
<li>11.50 <b>Sound and Rhythm: Hearing </b>Chair: Bill Sherman, Director of Research and Collections, V&A</li>
<ul>
<li><b><i>Pyke organ clock restoration</i></b> Malcolm Archer and Matthew Read, West Dean</li>
<li><b><i>Bells and the rhythms of urban life </i></b>Paul Glennie, University of Bristol</li>
<li><b><i>Different types of striking in domestic clocks</i></b> Oliver Cooke, Curator Horology, British Museum</li>
</ul>
<li>13.00 Lunch Break</li>
<li>14.00 <b>Making sense of the passage of time</b> Chair: Marek Kukula, Public Astronomer, Royal Observatory Greenwich</li>
<ul>
<li><b><i>Times change: two Augsburg Clocks in the Gilbert Collection</i></b> Heike Zech, Senior Curator, The Rosalinde and Arthur Gilbert Collection, V&A</li>
<li><b><i>Signs of Astrology on early modern clock and watch dials</i></b> Jane Desborough, Curator, Science Museum</li>
<li><b><i>Narratives of time: timelines</i></b> Stephen Boyd Davis, School of Design, Royal College of Art, London </li>
</ul>
<li>15.20 Refreshments</li>
<li>15.50 <b>Beyond the senses: Collecting Time </b>Chair: Tim Boon, Head of Research, Science Museum</li>
<ul>
<li><b><i>Collecting time, presenting time in the Kunstkammer Vienna</i></b> Paulus Rainer, Deputy Director, Kunstkammer, Kunsthistorisches Museum, Vienna</li>
</ul>
<li>16.30 Discussion and Q&A</li>
<li>17.00 Close </li>
</ul>
</div>
<br />
<b>Date</b><br />
Saturday 18 June, 10.00 – 17.00<br />
<b>Venue</b><br />
The Lydia & Manfred Gorvy Lecture Theatre<br />
<br />
More event information <b><a href="https://shop.vam.ac.uk/whatson/index/view/id/2508/event/Sensing-Time--The-Art-and-Science-of-Clocks-and-Watches/dt/2016-06-18/eType/1/free/2" target="_blank">here</a></b>.StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-40371140498982325242016-05-29T09:49:00.000-07:002016-05-29T09:49:20.724-07:00"The Idea of a Measurable Space" - Joseph Priestley's 1765 Chart of BiographyOn <b>1 June</b>, I will be talking at the Institute of Historical Research, Senate House, University of London, on "The Idea of a Measurable Space": Joseph Priestley's 1765 Chart of Biography<br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDuwORCauIJDpOzCWRIkhulWwFqxwbrMUhqw0WowFI8MVbmD79P5AcuJwl5po71_P_neHf_8do-bCBrr_m9rTmRMLWHbRiXvU5qfJOBNHWj8-w1YQbc58FuEmmWxX1Kt07If3QkmGfaE/s1600/P1010824mod+%255BChart+of+Biography+w+Explanation%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDuwORCauIJDpOzCWRIkhulWwFqxwbrMUhqw0WowFI8MVbmD79P5AcuJwl5po71_P_neHf_8do-bCBrr_m9rTmRMLWHbRiXvU5qfJOBNHWj8-w1YQbc58FuEmmWxX1Kt07If3QkmGfaE/s400/P1010824mod+%255BChart+of+Biography+w+Explanation%255D.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieozv_xUVDMPJdrJb3hq3DbH0O3qM6wGoRh88sx5_pK1qgUn794mWagjtbCyRXlHoKn21RXdYfxPty4V-0UDSKjRjTgMMr3ozhNp7rLTyytvHWakiWOJkwG6F1sOY5vNa2S1QyEBE7UOg/s1600/Chart-of-Biography-a-void.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieozv_xUVDMPJdrJb3hq3DbH0O3qM6wGoRh88sx5_pK1qgUn794mWagjtbCyRXlHoKn21RXdYfxPty4V-0UDSKjRjTgMMr3ozhNp7rLTyytvHWakiWOJkwG6F1sOY5vNa2S1QyEBE7UOg/s400/Chart-of-Biography-a-void.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
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My central question will be: why did Priestley’s Chart of Biography take the form it did? I'll trace the answers through the contemporary visual and intellectual culture, and through some of Priestley's personal characteristics. I'll also ask what is unique about Priestley's approach - correcting some common errors - and highlight what is truly special about his contribution.<br />
<div>
<br /></div>
<b>Date</b><br />
1 June 2016, 17:15 - 19:15<br />
<b>Venue</b><br />
Wolfson Room I (NB01)<br />
Senate House<br />
Malet Street<br />
London WC1E 7HU<br />
<br />
More event information <b><a href="http://www.history.ac.uk/events/browse/20234" target="_blank">here</a></b>.<br />
<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-14765095891272951452016-05-19T04:01:00.000-07:002016-05-19T04:01:01.728-07:00Forthcoming talks on chronographicsOn <b>20 May</b>, <a href="http://chronographics.blogspot.co.uk/2016/04/dr-florian-krautli.html" target="_blank">Florian</a> will be presenting at the Digital Humanities Early Career Conference 2016 "Mapping the Scope & Reach of the Digital Humanities" at King's College London.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglO_WgudGFmDZt-rEK5OsJHWszDYoAciVktyqXjpqCVIwW-9ZXKYYwQXkZ35rFGcnlz3o-8myr3rexrvjtYIMf6F3NMDPWK3qAlRMdi4CZUXmbvgapDj8rgG_MeIHg3P_Js4HU2zn9F0s/s1600/DH+ECR+KCL+20+May+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglO_WgudGFmDZt-rEK5OsJHWszDYoAciVktyqXjpqCVIwW-9ZXKYYwQXkZ35rFGcnlz3o-8myr3rexrvjtYIMf6F3NMDPWK3qAlRMdi4CZUXmbvgapDj8rgG_MeIHg3P_Js4HU2zn9F0s/s400/DH+ECR+KCL+20+May+2016.png" width="400" /></a></div>
The paper focuses on the relationships between the digital, humanities, design, and research.<br />
<br />
Full conference programme <a href="https://kcldhconf.wordpress.com/conference-programme-2/" target="_blank"><b>here</b></a>.<br />
<br />
<br />
<br />
<br />
On <b>1 June</b>, I will be talking at the Institute of Historical Research on "The Idea of a Measurable Space": Joseph Priestley's 1765 Chart of Biography<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zG01CQDkbIYbqURYp8P9l1ytN4nma1FolS-mF3uDqaR77m5mi8rdwhm3IsJ9_R4SIAsDS8NjSI9gnDO9Y16nvNawhW_2E-cTn2crXqXpfddONKOvP867fZcn4KXbgD6-UQoWk6n_N28/s1600/IHR+talk+1+June.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zG01CQDkbIYbqURYp8P9l1ytN4nma1FolS-mF3uDqaR77m5mi8rdwhm3IsJ9_R4SIAsDS8NjSI9gnDO9Y16nvNawhW_2E-cTn2crXqXpfddONKOvP867fZcn4KXbgD6-UQoWk6n_N28/s400/IHR+talk+1+June.png" width="400" /></a></div>
My central question will be: why did Priestley’s Chart of Biography take the form it did? I'll trace the answers through the contemporary visual and intellectual culture, and through some of Priestley's personal characteristics. I'll also ask what is unique about Priestley's approach - correcting some common errors - and highlight what is truly special about his contribution.<br />
<div>
<br /></div>
<b>Date</b><br />
1 June 2016, 17:15 - 19:15<br />
<b>Venue</b><br />
Wolfson Room I (NB01)<br />
Senate House<br />
Malet Street<br />
London WC1E 7HU<br />
<br />
More event information <b><a href="http://www.history.ac.uk/events/browse/20234" target="_blank">here</a></b>.<br />
<br />
<br />
<br />
On Saturday <b>18 June</b>, I will be contributing a talk to a joint study day between the V&A and the Science Museum.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0uL5dilYtwcAFOYZXJbDmn6hAZuHpRh8DmpheULLA4BjHzkY3ENJaOvc2z1_ncg0HEB8rtutvpVAeD1w5yQht-r5wraY9Dhq6Ykw8NdmujNA4xyHGdxkE2RSjBTxqGBO7JkZw2td-bU/s1600/V%2526A+study+day+18+June+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0uL5dilYtwcAFOYZXJbDmn6hAZuHpRh8DmpheULLA4BjHzkY3ENJaOvc2z1_ncg0HEB8rtutvpVAeD1w5yQht-r5wraY9Dhq6Ykw8NdmujNA4xyHGdxkE2RSjBTxqGBO7JkZw2td-bU/s400/V%2526A+study+day+18+June+2016.png" width="400" /></a></div>
<br />
Though the day is called 'Sensing Time: The Art and Science of Clocks and Watches' I won't be talking about either clocks or watches! Instead I will focus on the 'mechanical' aspects of diagrams of historic time. Here is the blurb for the day:<br />
<blockquote class="tr_bq">
Time is of the essence. This truth is visible, tangible and audible in the masterpieces of horology in collections across the globe. This interdisciplinary study day will bring together international expertise from curators, makers and conservators. It will explore the different priorities for collecting clocks and watches from exquisite decoration, to materials, mechanics and technological innovation.</blockquote>
<div>
<br /></div>
<br />
<b>Date</b><br />
Saturday 18 June, 10.00 – 17.00<br />
<b>Venue</b><br />
The Lydia & Manfred Gorvy Lecture Theatre<br />
<br />
More event information <b><a href="https://shop.vam.ac.uk/whatson/index/view/id/2508/event/Sensing-Time--The-Art-and-Science-of-Clocks-and-Watches/dt/2016-06-18/eType/1/free/2" target="_blank">here</a></b>.<br />
<br />
<br />
<br />
On <b>14 July</b>, <a href="http://chronographics.blogspot.co.uk/2016/02/olivia-vane-new-phd-student-in.html" target="_blank">Olivia Vane</a> and I will be presenting a paper by myself, Olivia and Florian at Electronic Visualisation and the Arts - 'Using Data Visualisation to tell Stories about Collections'.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfipQlGq_VW-cAQ4MSh9rdlqSupPbydsGxARyvE_WSVsITks-ebHEetC0h9_43CDihcky0Li0KCXw0Ga5LdomJeE1ubgJShpq5wA4udU8XzqKCHg-Mf8e7vrW-DyCeYV6k1gTjMR-fkSg/s1600/EVA+London+July+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfipQlGq_VW-cAQ4MSh9rdlqSupPbydsGxARyvE_WSVsITks-ebHEetC0h9_43CDihcky0Li0KCXw0Ga5LdomJeE1ubgJShpq5wA4udU8XzqKCHg-Mf8e7vrW-DyCeYV6k1gTjMR-fkSg/s400/EVA+London+July+2016.png" width="400" /></a></div>
The paper explores visualisation of “big data” from digitised museum collections and archives, focusing on the relationship between data, visualisation and narrative. A contrast is presented between visualisations that show “just the data” and those that present the information in such a way as to tell a story using visual rhetorical devices; such devices have historically included trees, streams, chains, geometric shapes and other forms. The contrast is explored through historical examples and a survey of current practice. A discussion centred on visualising datasets from the British Library, Science Museum and Wellcome Library is used to outline key research questions.<br />
<br />
<b>Dates</b><br />
Tuesday 12th July - Thursday 14th July 2016<br />
<b>Venue</b><br />
BCS<br />
First Floor<br />
The Davidson Building,<br />
5 Southampton Street<br />
London<br />
WC2E 7HA<br />
<br />
More event information <b><a href="http://www.eva-london.org/eva-london-2016/programme/programme" target="_blank">here</a></b>.<br />
<br />
StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-59616389135153662762016-04-21T01:28:00.002-07:002016-05-18T07:28:00.758-07:00Dr Florian KräutliA quick note to celebrate the award yesterday of PhD to Florian, who has worked so intensively for three and a half years on his investigations of critical chronographics. No amendments, no changes to be made - an immediate pass.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifGWJ3euknFUY-zKBy1RxhPYi_Z80WbfC7NC3a2ZtqKPS4gJFsigA_8ewZbd1B8hdy7qQhYGcQkycII0vQTwl9NsiXw2NSeqJ3eDJY4W5_pu0dN7Mc12N2tqu6Vh5_mOQU8znJni_QIDE/s1600/IMG_3092.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifGWJ3euknFUY-zKBy1RxhPYi_Z80WbfC7NC3a2ZtqKPS4gJFsigA_8ewZbd1B8hdy7qQhYGcQkycII0vQTwl9NsiXw2NSeqJ3eDJY4W5_pu0dN7Mc12N2tqu6Vh5_mOQU8znJni_QIDE/s400/IMG_3092.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr Kevin Walker, Prof Sue Walker, <b>Dr Florian Kräutli</b>, Prof Paolo Ciuccarelli, Prof Stephen Boyd Davis, Dr Michael Selway. Photo: Delfina Fantini van Ditmar</td></tr>
</tbody></table>
<br />
My thanks to...<br />
<br />
<ul>
<li>Dr Kevin Walker, head of Information Experience Design, RCA and chair of the exam board</li>
<li>Professor Sue Walker, of Reading University, external examiner</li>
<li>Paolo Ciuccarelli, of Politecnico di Milano, external examiner</li>
<li>Dr Michael Selway and Dr Michael Stapleton of System Simulation Ltd, external supervisors</li>
<li>Prof Ashley Hall and Prof Miles Pennington for providing a scholarly ‘home’ for Florian in Innovation Design Engineering</li>
<li>... and of course Florian himself for his deep engagement with a subject to which I am so committed! </li>
</ul>
<div>
Florian’s PhD was funded by EPSRC grant EP/J502169/1 and System Simulation Ltd.</div>
<div>
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StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-11492357988609029262016-03-27T14:01:00.000-07:002016-04-07T00:32:29.974-07:00Countess Markievicz and Dublin Mean Time<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2KWc7oEDabcb_XnfgxrzjF6bw5u1PRkYAWV17iAZU795QmILL5-089oDlecewPB96_fF0EKe7mxSOTJzakl_GBhyB-6jY2asm0iFofA4ckPt8fclcBbH50aYHs4j_iAySBjAWJ8tUZ8/s1600/IrishTimes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2KWc7oEDabcb_XnfgxrzjF6bw5u1PRkYAWV17iAZU795QmILL5-089oDlecewPB96_fF0EKe7mxSOTJzakl_GBhyB-6jY2asm0iFofA4ckPt8fclcBbH50aYHs4j_iAySBjAWJ8tUZ8/s400/IrishTimes.jpg" width="400" /></a></div>
Among the many things I did not know about the Easter Rising 100 years ago in Ireland – until today – was that Ireland had its own standard time until 1916. It was an effective symbol of London scorn to abolish the subject country’s time – one that duly caused anger in Ireland.<br />
<br />
According to an <a href="http://www.irishtimes.com/news/politics/dublin-lost-its-time-zone-and-25-minutes-after-1916-rising-1.1977411" target="_blank">article from a couple of years ago in the Irish Times</a>, ‘the House of Commons in London introduced Greenwich Mean Time in Ireland and abolished Dublin Mean Time, which was 25 minutes behind.’<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxh0IGxA9wLIqnL16TpiI6xN_ZHhsBrB3Irrqk6ej89wAja1fxxdcJcDAWRR5NKsI_UMy1fUJjF7OEiJ-kETiA83JWNqWdYCAog2IuS8jH4tDAcCB7HBpbg1vFAj15tDe1pY4SgOyw9I/s1600/Countess_Markievicz.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxh0IGxA9wLIqnL16TpiI6xN_ZHhsBrB3Irrqk6ej89wAja1fxxdcJcDAWRR5NKsI_UMy1fUJjF7OEiJ-kETiA83JWNqWdYCAog2IuS8jH4tDAcCB7HBpbg1vFAj15tDe1pY4SgOyw9I/s320/Countess_Markievicz.jpg" width="235" /></a></div>
<a href="https://en.wikipedia.org/wiki/Constance_Markievicz" target="_blank">Countess Markievicz</a>, one of the rebel leaders in the 1916 Rising and the leading woman in the Irish struggle for independence, complained bitterly about the measure in a letter which only came to light in 2014.<br />
<br />
Until the late 19th century, time in Ireland and Britain was defined locally according to sunrise and sunset. But the development of railway timetables and telegraphy required time to be standardised. In 1880, the House of Commons introduced legislation to enforce Greenwich Mean Time, but Ireland – where the sun rose 25 minutes and 21 seconds later than at Greenwich – had Dublin Mean Time. That ended with the <i>Time (Ireland) Act 1916</i>.<br />
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Countess Markievicz was born Constance Gore-Booth. She was sentenced to death by the British for her role in the Rising but the sentence was commuted to life in prison. She was released a year later, in 1917, under a general amnesty. A few months after writing her letter about oppressive time, she became the first woman elected to the House of Commons.<br />
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She had acquired her name upon marrying a Polish émigré, Count Casimir Markievicz, in 1900. She was one of the first women in the world to hold a cabinet position (Minister for Labour of the Irish Republic, 1919–1922).<br />
<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-21532213402356756412016-02-15T14:05:00.002-08:002016-02-15T14:05:55.840-08:00Babbage at WroughtonLast Wednesday, 10th February 2016, Stephen and <a href="http://chronographics.blogspot.co.uk/2016/02/olivia-vane-new-phd-student-in.html" target="_blank">Olivia</a> went to <a href="http://www.sciencemuseum.org.uk/about-us/collections-and-research/activities-and-projects/dana-centre/wroughton-library" target="_blank">Wroughton</a>, the reserve collection of the <a href="http://www.sciencemuseum.org.uk/online_science/explore_our_collections" target="_blank">Science Museum</a> to look at examples of the Babbage collection.<br />
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The papers held by the Science Museum Library and Archives relate principally to Charles Babbage’s calculating engines. They consist of most of the surviving technical material relating to his designs for automatic calculating machines such as the Difference Engines and the Analytical Engine. The archive contains three types of material:<br />
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<ol>
<li>Babbage’s notebooks </li>
<li>engineering drawings </li>
<li>notations, which are principally 'walk throughs' or 'traces' of micro-programs for various models or plans of the Analytical Engine.</li>
</ol>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKV3y2qHQeQNRQ7ctwD6yONmIlELiYzPvysg9KgY5teIc4IHBa8Q6IRgycuRYhXPviuRs6AuAevlJS0JD0_GGrol_MS_M2dD6qWqdit60u4-VIxm3V17eVvCKFO1S9pkGEmtcTPKepmY/s1600/P1000655+smaller.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKV3y2qHQeQNRQ7ctwD6yONmIlELiYzPvysg9KgY5teIc4IHBa8Q6IRgycuRYhXPviuRs6AuAevlJS0JD0_GGrol_MS_M2dD6qWqdit60u4-VIxm3V17eVvCKFO1S9pkGEmtcTPKepmY/s400/P1000655+smaller.jpg" width="400" /></a></div>
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The collection is unusual in that a large portion of it has been digitised - which is where we come in. What kinds of sense can be made from this heterogeneous material, what stories can it tell?StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-15006276986000223782016-02-15T13:44:00.000-08:002016-02-15T13:44:22.307-08:00Olivia Vane - new PhD student in chronographics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZjCqUBik2unIjM8UljoLguQrWcUz__Zyt5TreCDSObHoHwVe_amWZtek5_WVcERnX0Bouw4RraTaK-bCLYN2IyyIw0G7oEjUgBvSgLjQCoKXbYfMxTOdlJtnKMXAaVtfiBrI1HHtoP8/s1600/olivia-square.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZjCqUBik2unIjM8UljoLguQrWcUz__Zyt5TreCDSObHoHwVe_amWZtek5_WVcERnX0Bouw4RraTaK-bCLYN2IyyIw0G7oEjUgBvSgLjQCoKXbYfMxTOdlJtnKMXAaVtfiBrI1HHtoP8/s1600/olivia-square.png" /></a></div>
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Olivia joined the RCA as a research student in chronographics in October 2015. She joins <a href="http://research.kraeutli.com/index.php/author/florian/" target="_blank">Florian Kräutli</a> (now completing his studies) and <a href="http://chronographics.blogspot.co.uk/2014/10/new-phd-student-in-chronographics.html" target="_blank">Sam Cottrell</a> (who is half way through his studies in an AHRC Collaborative Doctoral Award with <a href="http://www.nationalarchives.gov.uk/" target="_blank">The National Archives</a>).<br />
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Cultural institutions have become swamped by digital data. Digitising the objects, images and texts in their collections has resulted in millions of electronic records. The question is, how can museums / archives / libraries make sense of it all? Olivia’s research explores how data visualisation may be used to reveal patterns and insights, and to present stories about collection data. A particular emphasis is competing and conflicting narratives.<br />
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Olivia is currently working with partners at <a href="http://labs.bl.uk/" target="_blank">British Library Labs</a>, <a href="http://www.sciencemuseum.org.uk/online_science/explore_our_collections" target="_blank">Science Museum</a> and <a href="http://wellcomelibrary.org/collections/" target="_blank">Wellcome Library</a>.<br />
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Olivia’s background is multi-disciplinary, bridging science, visual design and the humanities. She holds a BA (1st class) in Natural Sciences and an MSci (1st class) in History and Philosophy of Science, both from the University of Cambridge.<br />
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Since graduating, she has worked as a designer: leading the graphic design team for a large charitable organisation in London; producing visual and user experience design for a web start-up; and designing anthologies for literary projects. Her current research focuses on programming, data and visualisation.<br />
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Olivia is funded by <a href="http://www.ahrc.ac.uk/" target="_blank">AHRC</a> studentship AH/L503782/1 through <a href="http://ldoc-cdt.ac.uk/" target="_blank">LDoc</a>, the AHRC London Doctoral Design Centre consortium.<br />
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Olivia’s new blog: <a href="http://research.oliviavane.co.uk/">http://research.oliviavane.co.uk/</a><br />
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<br />StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-16674033054104887702016-01-21T08:05:00.000-08:002016-01-21T08:05:32.914-08:00Article in Visible Language: Idea and Image of Historical Time<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAlzFB9-PibxK2z_9ewx4G1T8gT_9uhXxBp5HgijZI6uIAYHE3XWQyXSCSOpV3R7AYQkRLOLRgt6K3-umnYTbTk6KqAH-3hsV951sg70nwhOYAwmatEST2jomYoW8JTFGc6q-xGafyVX4/s1600/Visible+Language+screenshot+January+2016.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAlzFB9-PibxK2z_9ewx4G1T8gT_9uhXxBp5HgijZI6uIAYHE3XWQyXSCSOpV3R7AYQkRLOLRgt6K3-umnYTbTk6KqAH-3hsV951sg70nwhOYAwmatEST2jomYoW8JTFGc6q-xGafyVX4/s400/Visible+Language+screenshot+January+2016.png" width="400" /></a></div>
Final-year PhD student <a href="http://research.kraeutli.com/index.php/author/florian/" target="_blank">Florian Kräutli</a> and I have recently published <a href="http://visiblelanguagejournal.com/issue/172/article/1202" target="_blank">a paper in <i>Visible Language</i></a> looking at some issues in visualising historic data – especially legacy data belonging to institutions.<br />
<blockquote class="tr_bq">
The paper addresses the relationship between design and the digital humanities, asking what each can learn from the other and how they may make progress together. The focus is critical making in chronographics — the time-wise visualisation of history — based on the authors’ historic research and current practice in visualising collections of cultural objects and events. This is situated in historic and contemporary contexts, arguing that the eighteenth century origins of the modern timeline have useful insights to offer in terms of objectives and rationale. The authors advocate a critical approach to visualisation that requires both design and digital humanities to face up to the problems of uncertainty, imprecision, and curatorial process, including in relation to time itself.</blockquote>
<a href="http://visiblelanguagejournal.com/issue/172" target="_blank">The whole issue (49:3 December 2015) of the journal</a> is <i>Critical Making: Design and the Digital Humanities</i>. It was ably guest-edited by <a href="https://www.kent.edu/vcd/profile/jessica-barness" target="_blank">Jessica Barness</a> and <a href="http://www.amypapaelias.com/" target="_blank">Amy Papaelias</a>. Here is the table of contents:<br />
<br />
<ul>
<li><i>GUEST EDITORS' INTRODUCTION</i></li>
<ul>
<li><b><span style="color: #666666;">Critical Making at the Edges </span></b>Jessica Barness, Amy Papaelias</li>
</ul>
<li><i>THEORY AND SPECULATIONS</i></li>
<ul>
<li><b><span style="color: #666666;">Meta!Meta!Meta! <i>A Speculative Design Brief for the Digital Humanities </i></span></b>Anne Burdick</li>
<li><b><span style="color: #666666;">Clues. Anomalies. Understanding. <i>Detecting underlying assumptions and expected practices in the Digital Humanities through the AIME project </i></span></b>Donato Ricci, Robin de Mourat, Christophe Leclercq, Bruno Latour</li>
<li><b><span style="color: #666666;">Writing Images and the Cinematic Humanities </span></b>Holly Willis</li>
<li><b><span style="color: #666666;">Beyond the Map: <i>Unpacking Critical Cartography in the Digital Humanities </i></span></b>Tania Allen, Sara Queen</li>
</ul>
<li><i>FORMS AND OBJECTS</i></li>
<ul>
<li><b><span style="color: #666666;">The Idea and Image of Historical Time: <i>Interactions between Design and Digital Humanities </i></span></b>Stephen Boyd Davis, Florian Kräutli</li>
<li><b><span style="color: #666666;">Critical Interfaces and Digital Making </span></b>Steve Anderson</li>
<li><b><span style="color: #666666;">Making Culture: <i>Locating the Digital Humanities in India </i></span></b>Padmini Ray Murray, Chris Hand</li>
<li><b><span style="color: #666666;">Prototyping the Past </span></b>Jentery Sayers</li>
<li><b><span style="color: #666666;">visual book review + essay: Book Art: <i>a Critical Remix of The Electric Information Age Book </i></span></b>Steven McCarthy</li>
</ul>
</ul>
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StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0tag:blogger.com,1999:blog-5532690246242779901.post-66081721556753530332015-10-20T03:28:00.001-07:002015-10-20T03:29:15.189-07:00Interactive timeline wall at Tate Modern in London<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEk74OrjSUA-BAYns8wZWYOTbevsLakWiIrRXwK4FMpcYhxal1gEITttzdRn8ETRQBtTZEsu8LTz3Xc5QltrAe9fc_x1_zNpQLUMuuZZyCrApgWc98hsP0Ffs8RF9PhNAT2NnEZWs6VYo/s1600/TateTimeline_Oct2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEk74OrjSUA-BAYns8wZWYOTbevsLakWiIrRXwK4FMpcYhxal1gEITttzdRn8ETRQBtTZEsu8LTz3Xc5QltrAe9fc_x1_zNpQLUMuuZZyCrApgWc98hsP0Ffs8RF9PhNAT2NnEZWs6VYo/s400/TateTimeline_Oct2015.jpg" width="400" /></a></div>
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Visitors to the Clore Welcome Room, Level 0 at Tate Modern can explore the story of art from 1900 to the present day with the Timeline of Modern Art. The 6.5-metre-long digital touchscreen brings together images of 3500 works of art by 750 artists.<br />
<br />
Ros Lawler, Tate’s Digital Director, says<br />
<blockquote class="tr_bq">
this timeline will give Tate Modern’s millions of visitors a new way to engage with and explore the collection </blockquote>
Each artwork appears ‘at the point in time it was created’ on a timeline spanning 125 years. Users touch the screen to open more detail on any item, and they can ‘see connections between artists across time’ – though as I have not used it myself it is not clear to me quite what that means (and the online video doesn’t really make it clear). Artists seem to be grouped in a very traditional way into named clusters such as Impressionism or Vorticism.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUMTYGGqHzj_pJdFgmYL6yDve_eWGxELDfzZkxnJRoegEv-eGhi4N04cwKY2E-oiDDHyh3gf-ymhtz02M2ZUjdrsqV_HS3HtEbdLGu_Ym8qTJ4Ph9i6dtTkCjqkcmTzsBb1teju5S7vPM/s1600/TateTimelineFramestore_img_3235x1920.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUMTYGGqHzj_pJdFgmYL6yDve_eWGxELDfzZkxnJRoegEv-eGhi4N04cwKY2E-oiDDHyh3gf-ymhtz02M2ZUjdrsqV_HS3HtEbdLGu_Ym8qTJ4Ph9i6dtTkCjqkcmTzsBb1teju5S7vPM/s400/TateTimelineFramestore_img_3235x1920.jpg" width="400" /></a></div>
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<br />
It is made by ‘Oscar-winning visual effects studio Framestore, who worked on such feature films as Gravity and Guardians of the Galaxy.’<br />
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Links<br />
<br />
<ul>
<li>Tate page about the project, with video: <a href="http://www.tate.org.uk/visit/tate-modern/things-to-do/bloomberg-connects-interactive-activities/digital-timeline">http://www.tate.org.uk/visit/tate-modern/things-to-do/bloomberg-connects-interactive-activities/digital-timeline</a></li>
<li>Framestore’s own account of the work, with stills: <a href="http://www.framestore.com/work/tate-timeline-modern-art">http://www.framestore.com/work/tate-timeline-modern-art</a></li>
</ul>
StephenBDhttp://www.blogger.com/profile/12690399166024344062noreply@blogger.com0