Constraints and Opportunities for Expressive Information Design

Constraints and Opportunities for
Expressive Information Design

Matthew Brehmer · Microsoft Research · @mattbrehmer

Presentation at SFU SIAT 2019-01-28 · slides: aka.ms/siat1901

Outline

· Expressive information design

· My background, methods, and values

· Focus section 1: Considerations and tools for expressive information design

· Focus section 2: Expressive information design for mobile devices

· Ongoing and future research

· Why SIAT?

Coverage of Topics & Publications

Considerations and tools for expressive information design:
· Timeline Storyteller ^C7 | DataToon ^C8 | Charticulator ^J7 | ChartAccent ^C5 | Timelines Revisited ^J6 | TimeLineCurator ^J4

Visualization task analysis:
· A Typology of Abstract Visualization Tasks ^J1 | Visualizing Dimensionally-Reduced Data ^W3

Empirical evaluation:
· Data-Driven Stories ^BC1 | Visualization Authoring Systems ^W5 | Variants of Multi-Series Bar Charts ^C6 |
· Overview: A Document Mining Tool for Journalists ^J2 | Pre-Design Empiricism for Visualization ^W2

Visualization for mobile devices:
· Ranges Over Time ^J8 | Animation vs. Small Multiples ^WP*

Visualization for resource conservation:
· Workflows for Energy Portfolio Analysis ^J5 Publications since 2013 by chronology + type as listed in my CV | WP* = working paper.

Coverage of Topics & Publications

Expressive Information Design

From the perspective of an information visualization researcher.

Expressive Information Design

· Combining visualization, annotation, and explanation to present information to an audience.

· Thinking systematically about tasks, design choices, and constraints.

· Identifying ways to assess alternative design choices.

Presenting Information to the Public

e.g., Hans Rosling's TED presentations about global economic and public health indicators.
Image: Open Knowledge Foundation Deutschland (flickr, cc by).

Presenting Information to the Individual

Information that is personally-relevant and appropriate for the context.

e.g., Mobile news; apps for tracking personal activity, health, finance. Image: newkemall (flickr, cc by).

Aspects of Expressive Information Design

Thinking systematically about tasks, design choices, and constraints.

Thinking Systematically about Tasks

A Multi-Level Typology of Abstract Visualization Tasks. Brehmer and Munzner.
In IEEE Transactions on Visualization and Computer Graphics (InfoVis 2013).

Icons by Eamonn Maguire (cc by) for Munzner's Visualization Analysis & Design (CRC Press, 2014).

A central theme of my PhD research pertained to classifying visualization tasks and to consolidating the vocabulary for visualization tasks into a typology,

Which is the subject of a 2013 paper written with my PhD advisor Tamara Munzner.

And expressive information design involves being able to address a wide range of tasks,

And by this I refer to both the tasks of an information designer or author, as well as the tasks of a viewer, or what the audience is expected to do with the information presented to them.

Such as to identify a trend or to compare values.

Ultimately, expressivity is about satisfying the intent of the author, allowing them to tell the story they want to tell,

And whether this story can be reconstructed in the mind of the viewer.

Thinking Systematically about Tasks

A Multi-Level Typology of Abstract Visualization Tasks. Brehmer and Munzner.
In IEEE Transactions on Visualization and Computer Graphics (InfoVis 2013).

The most cited IEEE InfoVis paper since 2013, with more than 280 citations*.

* Google Scholar, Jan 2019.

Icons by Eamonn Maguire (cc by) for Munzner's Visualization Analysis & Design (CRC Press, 2014).

Thinking Systematically about Design Choices

Identifying the dimensions of design spaces that characterize:

... ways to visually represent data.

... ways to interact with these representations.

... ways to highlight and annotate them.

... ways to combine visual content with textual explanation.

In an expressive information design tool, how do you present these choices?

e.g., Low-level visual encoding choices (shape, color, ...) or chart templates (bar, line, ...)

Expressivity also refers to thinking systematically about design choices and design spaces:

Which are ways to categorize visual representation choices for a particular type of data,

Interaction design choices, ways to highlight, annotate, and embellish visual representations,

Or ways to combine visual and textual explanations in compelling and engaging ways.

Characterizing these design spaces becomes particularly important when you decide to expose them to an author in the form of an information design tool, where there is a question about the level of granularity:

For example, as a designer are you controlling low-level visual encoding channels like shape or color, or are you picking a chart type from a template?

As you'll see this process identifying and assessing points in the design space in the two focus sections later in this talk.

Constraints on Expressivity

Constraints imposed by authors, by the audience, or by the context.

Expertise: empowering non-programmers and non-designers.

Resources: enabling expressive information design for those on a deadline.

Literacy: anticipating the visual and data literacy of the audience.

Device: anticipating the audience's viewing experience.

Expressivity is also bound to constraints, and it is these constraints that I find to be particularly challenging and deserving of research.

And these include constraints imposed by designers or authors, as well as those imposed by the audience and the context in which the information is presented.

<< CLICK >> One of these constraints is expertise:

I want to empower non-programmers to present information with interactive visualization and presentation tools.

And I want to empower non-designers to make compelling and useful information graphics by offering design guidance.

<< CLICK >> Another constraint is about resources:

For example, I want to enable over-committed, understaffed, and poorly funded local news teams to produce data-driven stories about their community while meeting all their deadlines.

<< CLICK >> Yet another constraint is literacy:

What if my audience lacks the sufficient visual literacy or data literacy needed to interpret my particular choice of visual representation?

How can I make use of their prior knowledge as part of the communication process?

<< CLICK >> And finally there's the device: what if my audience is consuming this information from a mobile device?

How does that constrain my choices?

My Background, Methods, & Values

My Background

2011 - 2016: PhD Computer Science specializing in Information Visualization

2009 - 2011: MSc Computer Science specializing in Human-Computer Interaction

2004 - 2009: Bachelor of Computing specializing in Cognitive Science

Design & Research Methods

Design & Implementation:

· User interface design | Visualization design & development | Toolkit development

Qualitative Research:

· Visualization design studies* | Requirements analysis | Retrospective interviews
· Chauffeured demos | Content analysis | Post-deployment usage analysis

Quantitative Research:

· Laboratory experiments | Crowdsourced experiments | Statistical analysis * See the Design Study Methodology by Sedlmair, Meyer, and Munzner. In IEEE TVCG (InfoVis 2012).

In terms of the design and research methods that I use,

I design and build things!

I've alternated between visualization and interface design at various levels of fidelity,

as well as software development for a deployed product, a research toolkit, and various visualization tools and experimental applications.

Though just as important are the human-centred research methods that I use,

This includes extensive qualitative evaluation work during my PhD in the context of visualization design studies,

Which involve everything from content analysis to requirements analysis and usage analysis of deployed visualization tools.

This qualitative work also contributes to theory development, where I've systematically collected and categorized previous research as well as information design content by practitioners.

And finally I've done lab-based experimental work prior to my PhD and more recently, experimental work involving crowdsourcing,

You'll see me touch upon many of these methods as well as the need for methodological innovation throughout the rest of this talk.

The Value of Democratizing Information Design

How can I enable under-served groups of people to...

Expressively visualize their data?

Produce and present compelling data-driven stories?

Make personal decisions grounded in data?

The Value of Democratizing Information Design

Situating my research within the academic visualization community.

Considering applications of visualization beyond those in professional data analysis.

e.g., Why are journalists and educators presenting information using business intelligence tools?

e.g., What are the best practices for the visual display of personal-relevant information on a phone?

And its here that I situate my research from that of others in the broader visualization community, such as those working in visual analytics like Brian.

Many in the visualization and visual analytics research community are motivated by use cases from professional data analysis, data science, or business intelligence.

While I think these use cases are important and I'm glad that people are thinking about them, they are NOT the use cases that motivate my research.

Instead, I'm interested in incorporating visualization to present information to people who don't identify as data analysts, in both public and personal contexts.

This leads me to ask questions like ``why are journalists and educators are using business intelligence tools to present information to their audiences``?

Can I build better tools for these communities and their needs?

Or can can I identify best practices for the visual display of personal information on a mobile phone?

The Value of Connecting Research & Practice

Disseminating visualization research into practice, and vice versa.

Promoting and studying the adoption of deployed information design tools and research prototypes.

Collecting examples of information design produced by practitioners.

Fostering a dialogue between researchers and practitioners (e.g., OpenVisConf, VisInPractice)*. * OpenVisConf: openvisconf.com | VisInPractice event at IEEE VIS: VisInPractice.github.io .

Finally, increasing expressivity and democratizing visualization are only possible if there is an ongoing process of communication and outreach between visualization researchers and practitioners.

This means disseminating research into practice, and just as importantly, disseminating practice into research.

As you'll see in my own research, this manifests as studying the adoption of deployed tools and prototypes.

And collecting examples of information design produced by practitioners.

And finally this means speaking directly with practitioners, such as when I spoke at OpenVisConf, one of the most renowned practitioner-oriented visualization conferences,

Or how I co-organized the VisInPractice event at last year's IEEE VIS conference, where I invited prominent visualization practitioners to speak to a largely academic audience.

Outline

· What is expressive information design?

· My background, methods, and values

· Focus section 1: Considerations and tools for expressive information design

· Focus section 2: Expressive information design for mobile devices

· Ongoing and future research

· Why SIAT?

The Daily Routines of Famous Creative People

Story inspired by infographics by Podio and info we trust.
Data source: Daily Rituals: How Artists Work by Mason Currey (2013)

I want to tell you a story about the daily routines of famous creative people.

MAX: What you see here is a set of radial timelines depicting a typical 24 hours in the lives of 26 writers, artists, composers, and the like.

When they work, eat, sleep, exercise, and do other activities.

NEXT: Have you ever wondered: when do creative people create? Or are all creative people similar in this regard?

It turns out that some creative people prefer to work in short, focused bursts, like Darwin or Kant, while people like Murakami and Voltaire get up early and work for long uninterrupted periods of time.

Meanwhile, you have people like Kafka who work all night long.

NEXT: Now I want to tell you about the potential relationship between sleep and creativity, and possibly to dispel any potential misconceptions that creative people have irregular schedules.

Most people here tend to sleep at night, with notable exceptions like Balzac who would turn in at 6pm, and Kafka, who just seemed to keep odd hours.

What about variation and creativity? Let me show you how often these creative people change activities throughout their day.

NEXT: This 24-hour clock isn't the best way to convey the number or heterogeneity of activities, so I'm going to transition to a just show you a sequence of activities without any duration, effectively resulting in a bar chart wrapped radially.

NEXT: To show who varied the most and least among these people, a linear representation is perhaps best, where you can see that Darwin has the most varied day of all the people here

while Murakami prefers less variation.

NEXT: Finally, I'll restore the duration of events so that you can compare these timelines just by scanning up and down, where you might spot times where some routines appear to be in sync with one another, such as when people work or sleep at the same time.

And now I ask you the audience to compare your own daily rhythm to these creative people.

When do you sleep, eat, or do you best creative work?

Expressive Information Design with Timelines

Timeline Storyteller: The Design & Deployment of an Interactive Authoring Tool for
Expressive Timeline Narratives.
Brehmer, Lee, Henry Riche, Tittsworth, Lytvynets, Edge, and White. In Proc. Comp. + Journalism 2019.

timelinestoryteller.com | github.com/Microsoft/timelinestoryteller

Timelines Revisited

Timelines Revisited: A Design Space and Considerations for Expressive Storytelling.
Brehmer, Lee, Bach, Henry Riche, and Munzner. In IEEE TVCG (presented at InfoVis 2017).

Timelines are visual representations of categorical event sequences.

How have people drawn timelines over the course of history?

The visualization research community has focused on their use in data analysis.

How have practitioners used them for storytelling?

What Happened When?

In what sequence did the events occur?

How long did the events last?

How long between event A and event B?

Did A and B co-occur or repeat?

When did A and B occur relative to event C?

A Timeline Design Space

Scale

Layout
Unified

It turns out that there are many ways to answer these questions and present timelines, which brings me to my design space.

You can represent time in various ways, such as linearly, radially, or by using spirals, grids such as calendars, or along a curve

And you can combine these representations with different time scales: you could use an absolute or relative chronological scale, a logarithmic scale, or a purely sequential scale.

And then there's "Layout", or how to draw one or more timelines within a page or display:

This has to do with deciding between a single timeline, faceting into multiple timelines (like how I did for each creative person),

Or wrapping a single timeline into meaningful segments of time, like a decade or a century.

Timelines Revisited: The Research Process

1. Collecting and categorizing 145 timelines and timeline tools to establish the dimensions.
· Sources included: Cartographies of Time (Rosenberg & Grafton), Visualization of Time-Oriented Data (Aigner et al.), Making Timelines (Groeger).

2. Validating the dimensions of the design space with 118 additional timelines (263 total).
· Sources included: visual.ly, the Kantar Information is Beautiful Awards showcase, massvis.mit.edu.

3. Implementing points in the design space with 28 representative datasets.
· e.g., Conflicts, epidemics, lifespans, head of state tenures, news stories, natural disasters, publication records, geological history.

So how did I come up with this design space?

You may recall from my background section that I incorporate various forms of qualitative analysis in my work,

And that I strive to connect research and practice,

This manifested here in my collection and categorization of 145 timelines and timeline visualization tools produced by both researchers and practitioners,

And out of that came the dimensions of the design space.

Next, I verified that the design space could be used to label 118 additional timelines drawn from collections of practitioner work.

And finally I used implementation as a research method, in that I implemented points in the design space with 28 event datasets which varied in a number of ways,

Such as the number of events, the temporal extent of the data, the rate of event co-occurrence, and their topical content, which included

Lifespans, news stories, natural disasters, publication records, and extremely long-spanning timelines of geological and astronomical history.

A set of purposeful, interpretable, & generalizable
timeline designs at timelinesrevisited.github.io .

Thinking Systematically About Tasks & Design Choices

Using our Timeline Design Space

Expressive Storytelling with Timelines

Timelines Revisited: A Design Space and Considerations for Expressive Storytelling.
Brehmer, Lee, Bach, Henry Riche, and Munzner. In IEEE TVCG (presented at InfoVis 2017).

Provide alternative representations for time.

Provide alternative time scales.

Anticipate chronological or non-chronological narratives.

Incrementally reveal visual elements, selectively highlighting and annotating to direct attention.

In this TVCG paper I make the case that timeline design tools should provide alternative representations of time and alternative time scales.

I should also emphasize that existing timeline presentation tools also tend towards a chronological narrative:

Either the whole timeline is shown as a static image, so readers are likely to begin at the start of the timeline, or events are revealed in chronological order, one event at a time as a series of slides.

For some stories, a chronological introduction of events makes total sense, while for others it does not,

Like how in my story about the routines of creative people, I revealed and highlighted aspects of those timelines in an order that wasn't chronological starting at midnight.

To achieve this expressive narrative design, designers should make use of animation, highlighting, and annotation to incrementally reveal parts of a narrative (that may not be chronological), to allow the viewer to make new comparisons.

Timeline Storyteller

Evaluating Timeline Storyteller

A controlled laboratory study to assess expressivity seemed to be inappropriate.

How do people use it with their own data?

How does the content they produce reflect our timeline design space?

Promoting Timeline Storyteller to Practitioners

I demonstrated it at the Tapestry Conference and OpenVisConf in 2017.

My co-author (White) used it in his 2017 Dublin Data Summit keynote.

Microsoft's Data Journalism Team demonstrated it at the 2017 Future of Storytelling Summit.

I wrote about it on the official Power BI Blog.

I co-produced a tutorial and interview for the Power BI YouTube channel.

Promoting Timeline Storyteller (cont.)

A customer demonstrated it in the opening keynote of the 2017 Data Insights Summit.

Timeline Storyteller: Collecting Usage Data

I collected exported content from the web version.

I collected entries from a data storytelling contest with the Power BI user community.

I tracked download metrics of the Power BI desktop version.

Timeline Storyteller: Content Analysis

223 unique items of exported content from the web version (subject to author consent).

The corpus spanned the timeline design space - with a couple of exceptions.

The Linear representation and Chronological time scale were most common.

Linear

I saved copies of content exported from the web version of Timeline Storyteller over the course of about 9 months, subject to the approval of content authors.

After reviewing all of this content and discarding duplicate versions of content, I identified 223 unique artefacts generated with Timeline Storyteller, which included static images, animated GIFs, and multi-scene stories.

And by qualitatively analyzing this content, I found was that nearly every timeline design choice was represented in this corpus, though most of this corpus made use of the familiar linear representation and chronological time scale.

I didn't see any use of the calendar grid or the logarithmic time scale.

And if you do a Google image search for Timeline Storyteller and look at the content produced by people other than myself,

You'll see the prevalence of the linear representation and chronological time scale reflected there.

Timeline Storyteller: Content Analysis (cont.)

Example entries from the Power BI user community data storytelling contest:

Tropical Cyclones by Manga Solutions. | TV Network Ratings by Pragmatic Works.

Timeline Storyteller: Usage Metrics*

Over 36,000 downloads of the Power BI version.

Over 51,000 views of our YouTube tutorial.

Over 150 stars of Github repository.

* As of January 2019

Timeline Storyteller: Conclusions & Opportunities

No prior interactive tools for presenting expressive timeline narratives.

The first to incorporate multi-scene stories with multiple visual representation choices.

Incrementally reveal + transform; selectively highlight + annotate; applicable to other data types.

Recommend design choices and annotations based on properties of the dataset.

In summary, Timeline Storyteller fills a gap in that no existing tool allows a non-programmer to present a visually expressive timeline narrative.

It's really the first to incorporate this animated multi-scene PowerPoint-like story format along with multiple visual representation choices;

And I believe that many aspects of its design can be applied to other forms of data, such as its ability to incrementally reveal and selectively highlight content.

We're still learning about how it's being used in the wild,

As our limited evaluation of content analysis and usage only revealed so much.

And while the content produced does reflect our timeline design space to an extent,

Seeing this content made me realize the opportunity for providing overt recommendations of design choices, captions, and annotations more overtly within the application based on properties of the dataset, such as the temporal extent and distribution of the events.

Other Expressive Information Design Tools (1 of 3)

ChartAccent: Annotation for Data-Driven Storytelling.
Ren, Brehmer, Lee, Höllerer, and Choe. In Proc. 2017 IEEE PacificVis Symp.

chartaccent.github.io | github.com/chartaccent

Other Expressive Information Design Tools (2 of 3)

Charticulator: Interactive Construction of Bespoke Chart Layouts.
Ren, Lee, and Brehmer. In IEEE TVCG (InfoVis 2018).

Honorable Mention for Best Paper at IEEE InfoVis 2018.

Shortlisted for the 2018 Kantar Information is Beautiful Awards.

charticulator.com | github.com/Microsoft/Charticulator

Other Expressive Information Design Tools (3 of 3)

DataToon: Drawing Dynamic Network Comics With Pen + Touch Interaction.
Kim, Henry Riche, Bach, Xu, Brehmer, Hinckley, Pahud, Xia, McGuffin, and Pfister. In Proc. CHI 2019.

aka.ms/DataToon

Outline

Information Design Choices on Mobile Phones

Visualizing Ranges over Time on Mobile Phones: A Task-Based Crowdsourced Evaluation.
Brehmer, Lee, Isenberg, and Choe. In IEEE TVCG (InfoVis 2018).

aka.ms/ranges-tvcg

Image: Eric Boam's 7 Months of Sleep.

Image: The New York Times (June 4, 2017).

Images (clockwise from left): The New York Times · Eric Boam · Randy Olson.

Ranges in Weather Apps

Apps: Dark Sky © · Weathertron © · Weather Line ©.

Ranges in Sleep Tracking Apps

Apps: Azumio Sleep Time © · Garmin Connect © · Bedtime (iOS Clock) ©.

Ranges and Radial Representations

Image: Weather Radials (by Timm Kekeritz) ©.

Images: mobileinfovis.com by Sebastian Sadowski, 2018.

A Crowdsourced Experiment on Mobile Phones

The first crowdsourced visualization evaluation study performed exclusively on phones. Image: newkemall (flickr, cc by).

Thinking Systematically About Tasks

Tasks derived from A Multi-Level Typology of Abstract Visualization Tasks.
Brehmer and Munzner. In IEEE TVCG (InfoVis 2013):

· Locate Dates

· Identify Values

· Locate Extreme Values

· Compare Values

· Compare Ranges

Dependent Measures

For each trial:

Trial completion time

Response accuracy

At each level of granularity:

Preference: Linear or Radial

Confidence: Low to High

Participants

Temperature (N = 40), Sleep (N = 47)

84 trials per participant, using their own phone.

Radial or Linear?

Detailed statistics are provided in:
Visualizing Ranges over Time on Mobile Phones: A Task-Based Crowdsourced Evaluation.
Brehmer, Lee, Isenberg, and Choe. In IEEE TVCG (InfoVis 2018). aka.ms/ranges-tvcg .

People are, in general, slower with radial representations.

Accuracy appears to be data- and task-dependent:

e.g., less accurate with radial when identifying and locating values in absence of seasonal variation.

People prefer and are more confident with linear representations.

In the interest of time, I won't get into the detailed stats including confidence intervals and effect sizes for each task, which you can find in the paper; for now, I'll stick to high-level results.

In general, people tend to be slower with radial representations, irrespective of the source of the data.

However, radial representations don't seem to incur accuracy costs, at least with temperature range data, where there tends to be a lot of seasonal variation.

With sleep range data, which exhibits no seasonal variation, people are less accurate when identifying values or when locating extreme values.

It's also worth remarking that participants universally preferred linear representations, and they felt more confident using linear representations relative to radial ones.

Altogether these findings are interesting given the popularity of radial representations of time in practice and design communities.

Week vs. Month vs. Year

People are typically slower with a month than with a week of ranges.

For some tasks, people were less accurate with a month than with a year.

e.g., seasonal variation in annual temperature appears to be beneficial for locating extreme values.

As you might expect, people were slower with a month ranges than with a week of ranges,

but they weren't that much slower when they moved from a month to a year.

With regards to accuracy, the jump from a week to a month only incurred noticeably worse performance when locating extreme values.

Interestingly, there were cases where people were as accurate or even more accurate with a year of ranges than with a month of ranges, particularly among those looking for extreme temperatures.

It is in this respect that I observed different results between the temperature and sleep range participant groups,

Where it would seem as though the expected seasonal trend of temperature ranges appears to make the task easier relative to examining a month of sleep ranges.

Temperature (L) and Sleep (R) don't follow monthly cycles.

Ranges Over Time on Mobile Phones: Conclusions

Is a cycle meaningful in the context of the data?

Does the task involve locating values? Or comparing them?

Is efficiency important?

Locating values quickly? → Choose Linear.

Comparing values (and unconcerned with speed)? → Choose Radial or Linear.

Ranges Over Time on Mobile Phones: Opportunities

More research is needed to assess visualization design choices on mobile phones.

aka.ms/ranges | (mobile only) experimental app.

github.com/Microsoft/RangesOnMobile | open source app and analysis.

medium.com/multiple-views-visualization-research-explained | blog post for practitioners.

Outline

Expressive Info. Design for Mobile Devices: Recent

A Comparative Evaluation of Animation and Small Multiples
For Trend Visualization on Mobile Phones.
Brehmer, Lee, Isenberg, and Choe. Working paper, Jan. 2019.

aka.ms/multiples | (mobile only) experimental app.

Expressive Info. Design for Mobile Devices: Ongoing

Discoverable Interactions for Navigating & Selecting Time-Varying Data on Mobile Phones.
Brehmer, Lee, Collins, and Hinckley.

Motivation: few people interact with interactive news graphics beyond scrolling.

Many interactions anticipate a desktop context, but most of the audience is using a mobile device.

UI elements for navigating multidimensional time-varying data occupy too much screen real estate.

Expressive Info. Design for Mobile Devices: Planned

Smaller Multiples: Assessing Multidimensional Glyph Design on Mobile Phones.
Brehmer, Lee, Isenberg, and Choe.

Images CW from top left: StressScan, Clue, FitBit Surge, Activity, Sleep++, Daily Goals.

Considerations for Expressive Info. Design: Planned

The Performative and Whimsical Drawing of Timelines with Pen + Touch Interaction.
Planned work.

Images L to R: narrative diagram by Kurt Vonnegut, "board game"-like timeline by Matthew Lee, timeline by Mark Twain, a curve timeline in Timeline Storyteller.

Opportunities for Expressive Information Design

Future Research Directions

Opportunities for Expressive Information Design (1/2)

Designing and evaluating inviting and memorable techniques for presenting information.

Widening the scope of data types: e.g., spatiotemporal data, dynamic networks.

Collecting and assessing design choices from the research and practice communities.

Opportunities for Expressive Information Design (2/2)

Measuring audience graphicacy* (visual / data / statistical literacy) and identifying ways to boost it.

Information design for an audience with a limited attention span.

Mobile-first and mobile-only information design (and addressing the scarcity of research).

More laboratory- and crowd-based experimental work to assess alternative design choices. * Uncertainty, graphicacy, and the power of statistics.
Alberto Cairo (Oct 18, 2017), thefunctionalart.com .

A second opportunity pertains to audience constraints,

Such as their limited "graphicacy", which is how renowned journalist and author Alberto Cairo refers to the combination of data, visual, and statistical literacy.

I want to identify how to measure this construct as well as how to improve it.

There's also the constraint of the audience's limited attention span and the challenge of designing information that both attracts this attention and yet does not mislead or misinform.

Finally there's the constraint imposed by small displays, which motivates me to identify where the limitations are for visual representation and interaction design choices.

And I'll reiterate that there's not a lot of prior research from the visualization community when it comes to mobile devices, and I plan to fix this.

And for each of these constraints, I believe more experimental work is needed, both in the lab and with online crowd worker participants.

Democratizing Expressive Information Design

Individuals: Visualization of personally-relevant information for making decisions in daily life.

Presenters: Interactive design tools for those without programming expertise or ample time;

Recomendations and considerations for those without design expertise.

e.g., small or local newsrooms, educators, cultural institutions, curators of digital collections.

In summary my research enedavors to give more people the ability to use and present information that is relevant to them:

For individuals this means applications for visualizing personaly-relevant information for making decisions in daily life.

And for presenters and authors this means taking a process that would have previously required programming expertise, visual design expertise, and / or ample amounts of time,

And instead offeriung an interactive experience that provides both expressivity and design guidance.

And to do this I would aim to partner with groups such as

Local and small- to mid-sized newsrooms that don't have dedicated visualization staff, educators preparing lecture content, and curators of cultural institutions and digital collections

Outline

Why SIAT?

· Students trained in information design, visual communication design, and interaction design.

· Potential to collaborate on projects on resource conservation, health, and cultural heritage.

· Research spanning interactive computing, design, people, & the science of interaction.

· Cascadia (Vancouver, Victoria, Seattle) is the world's best place to do visualization research.

· It is the ideal place to establish an Expressive Information Design group.

First, Unlike in a computer science department such as the one where I did my PhD,

The students here are trained in subjects that I care deeply about, such as information design, visual communication design, and interaction design.

Second, there are opportunities to collaborate with faculty members in application areas of mutual interest, such as resource conservation, health, and cultural heritage.

Third, I believe that my research already reflects the stated themes of research at SIAT:

Interactive computing, design, people, and the science of interaction.

And finally because the greater Vancouver area and Cascadia by extension has become the hub for visualization research, providing opportunities to collaborate between SFU, UBC, UW, and UVic, as well as industry connections to places like Microsoft and Tableau.

And thus I think it is the ideal place to establish an expressive information design group.

Constraints and Opportunities for
Expressive Information Design

Matthew Brehmer · Microsoft Research · @mattbrehmer

aka.ms/siat1901 | slides

Presentation at SFU SIAT 2019-01-28

Supplemental

Evaluating Expressive Information Design Tools

Reflecting on the Evaluation of Visualization Authoring Systems.
Ren, Lee, Brehmer, and Henry Riche.
In Proc. BELIV 2018 (Evaluation and Beyond - Methodological Approaches for Visualization).

Lessons from evaluating tools incl. Timeline Storyteller, ChartAccent, & Charticulator.

Emphasis on post-deployment content analysis and chart reproduction studies.

aka.ms/renbeliv18

Beyond Tools: Evaluating Data-Driven Stories

Evaluating Data-Driven Stories & Storytelling Tools.
Amini*, Brehmer* (equal contribution), Bolduan, Elmer, and Wiederkehr.
In Data-Driven Storytelling (CRC Press 2018).

A summary of perspectives, criteria, methods, metrics, and constraints w.r.t. evaluation.

The process of looking at the content produced with Timeline Storyteller and other tools also makes me wonder about

How the visualization community should evaluate data-driven stories more generally.

Consider a story that makes use of visualization, text, and potentially interaction.

It might incorporate many design choices, in that the author was highly expressive; but was it any good?

So in book chapter that I wrote for last year's Data-Driven Storytelling book,

My co-authors and I attempted to catalog all the ways you might evaluate this form of content.

And we also did our best to consider different perspectives and constraints from both research and practice,

Which was possible as one of our co-authors was Christina Elmer, a data journalist from Der Spiegl in Germany,

And another was Benjamin Wiederkehr, who leads the Interactive Things information design firm in Switzerland.

Ranges Over Time on Mobile Phones

Detailed Experimental Design and Results Slides