🧭💹Business Intelligence: Perspectives (Part XXI: Data Visualization Revised)

Data Visualization Series

Creating data visualizations nowadays became so easy that anybody can do it with a minimum of effort and knowledge, which on one side is great for the creators but can be easily become a nightmare for the readers, respectively users. Just dumping data in visuals can be barely called data visualization, even if the result is considered as such. The problems of visualization are multiple – the lack of data culture, the lack of understanding processes, data and their characteristics, the lack of being able to define and model problems, the lack of educating the users, the lack of managing the expectations, etc.

There are many books on data visualization though they seem an expensive commodity for the ones who want rapid enlightenment, and often the illusion of knowing proves maybe to be a barrier. It's also true that many sets of data are so dull, that the lack of information and meaning is compensated by adding elements that give a kitsch look-and-feel (aka chartjunk), shifting the attention from the valuable elements to decorations. So, how do we overcome the various challenges? 

Probably, the most important step when visualizing data is to define the primary purpose of the end product. Is it to inform, to summarize or to navigate the data, to provide different perspectives at macro and micro level, to help discovery, to explore, to sharpen the questions, to make people think, respectively understand, to carry a message, to be artistic or represent truthfully the reality, or maybe is just a filler or point of attraction in a textual content?

Clarifying the initial purpose is important because it makes upfront the motives and expectations explicit, allowing to determine the further requirements, characteristics, and set maybe some limits in what concern the time spent and the qualitative and/or qualitative criteria upon which the end result should be eventually evaluated. Narrowing down such aspects helps in planning and the further steps performed. 

Many of the steps are repetitive and past experience can help reduce the overall effort. Therefore, professionals in the field, driven by intuition and experience probably don't always need to go through the full extent of the process. Conversely, what is learned and done poorly, has high chances of delivering poor quality. 

A visualization can be considered as effective when it serves the intended purpose(s), when it reveals with minimal effort the patterns, issues or facts hidden in the data, when it allows people to explore the data, ask questions and find answers altogether. One can talk also about efficiency, especially when readers can see at a glance the many aspects encoded in the visualization. However, the more the discovery process is dependent on data navigation via filters or other techniques, the more difficult it becomes to talk about efficiency.

Better criteria to judge visualizations is whether they are meaningful and useful for the readers, whether the readers understood the authors' intent, the further intrinsic implication, though multiple characteristics can be associated with these criteria: clarity, specificity, correctedness, truthfulness, appropriateness, simplicity, etc. All these are important in lower or higher degree depending on the broader context of the visualization.

All these must be weighted in the bigger picture when creating visualizations, though there are probably also exceptions, especially on the artistic side, where artists can cut corners for creating an artistic effect, though also in here the authors need to be truthful to the data and make sure that their work don't distort excessively the facts. Failing to do so might not have an important impact on the short term,considerably. though in time the effects can ripple with unexpected effects.

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🧭💹Business Intelligence: Perspectives (Part XIX: Data Visualization between Art, Pragmatism and Kitsch)

Business Intelligence Series

The data visualizations (aka dataviz) presented in the media, especially the ones coming from graphical artists, have the power to help us develop what is called graphical intelligence, graphical culture, graphical sense, etc., though without a tutor-like experience the process is suboptimal because it depends on our ability of identifying what is important and which are the steps needed for decoding and interpreting such work, respectively for integrating their messages in our overall understanding about the world.

When such skillset is lacking, without explicit annotations or other form of support, the reader might misinterpret or fail to observe important visual cues even for simple visualizations, with all the implications deriving from this – a false understanding, and further aspects deriving from it, this being probably the most important aspect to consider. Unfortunately, even the most elaborate work can fail if the reader doesn’t have a basic understanding of all that’s implied in the process.

The books of Willard Brinton, Ana Rogers, Jacques Bertin, William Cleveland, Leland Wilkinson, Stephen Few, Albert Cairo, Soctt Berinato and many others can help the readers build a general understanding of the dataviz process and how data visualizations or simple graphics can be used/misused effectively, though each reader must follow his/her own journey. It’s also true that the basics can be easily learned, though the deeper one dives, the more interesting and nontrivial the journey becomes. Fortunately, the average reader can stick to the basics and many visualizations are simple enough to be understood.

To grasp the full extent of the implications, one can make comparisons with the domain of poetry where the author uses basic constructs like metaphor, comparisons, rhythm and epithets to create, communicate and imprint in reader’s mind old and new meanings, images and feelings altogether. Artistic data visualizations tend to offer similar charge as poetry does, even if the impact might not appeal so much to our artistic sensibility. Though dataviz from this perspective is or at least resembles an art form.

Many people can write verses, though only a fraction can write good meaningful poetry, from which a smaller fraction get poems, respectively even fewer get books published. Conversely, not everything can be expressed in verses unless one finds good metaphors and other aspects that can be leveraged in the process. Same can be said about good dataviz.

One can argue that in dataviz the author can explore and learn especially by failing fast (seeing what works and what doesn’t). One can also innovate, though the creator has probably a limited set of tools and rules for communication. Enabling readers to see the obvious or the hidden in complex visualizations or contexts requires skill and some kind of mastery of the visual form.

Therefore, dataviz must be more pragmatic and show the facts. In art one has the freedom to distort or move things around to create new meanings, while in dataviz it’s important for the meaning to be rooted in 'truth', at least by definition. The more the creator of a dataviz innovates, the higher the chances of being misunderstood. Moreover, readers need to be educated in interpreting the new meanings and get used to their continuous use.

Kitsch is a term applied to art and design that is perceived as naïve imitation to the degree that it becomes a waste of resources even if somebody pays the tag price. There’s a trend in dataviz to add elements to visualizations that don’t bring any intrinsic value – images, colors and other elements can be misused to the degree that the result resembles kitsch, and the overall value of the visualization is diminished considerably.

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📉Graphical Representation: Art (Just the Quotes)

"The one thing that marks the true artist is a clear perception and a firm, bold hand, in distinction from that imperfect mental vision and uncertain truth which give up the feeble pictures and the lumpy statues of the mere artisans on canvas or in stone." (Oliver W Holmes, "The Professor at the Breakfast Table Ticknor and Fields", 1860)

"The graphic art depicts magnitudes to the eye. It does more. It compels the seeing of relations. We may portray by simple graphic methods whole masses of intricate routine, the organization of an enterprise, or the plan of a campaign. Graphs serve as storm signals for the manager, statesman, engineer; as potent narratives for the actuary, statist, naturalist; and as forceful engines of research for science, technology and industry. They display results. They disclose new facts and laws. They reveal discoveries as the bud unfolds the flower."  (Henry D Hubbard [foreword to Willard C Brinton, "Graphic Presentation", 1939)]) 

"Graphic presentation is a functional form of art as much as modern painting or architectural design. The painter studies his subject to determine what colors and style and design will best express his ideas. The same kind of imagination is exercised by the graphic artist and analyst.  In addition, the graphic analyst has some of the same problems as the architect. The modern architect studies the family, its hobbies, interests, ambitions, and financial status, among other things, before he designs the new home. The graphic analyst should make just as thorough a study of the characteristics of the data and file uses for which it is intended before he designs his project. In the same way that the architect must know his materials and how they can best be used both in traditional ways and in new ways of his own devising, so must the graphic analyst be familiar with materials and techniques." (Mary E Spear, "Charting Statistics", 1952)

"A drawing can show a true picture of both the situation as a whole and its separate components at a glance, and do the job better than could figures or the spoken word. In its essence, a chart is a medium of communication conveying a thought, an idea, a situation from one mind to another and not a work of art or a statistical table. The simpler, the more direct it is, the better it will perform that service which is its sole function." (Anna C Rogers, "Graphic Charts Handbook", 1961)

"The art of using the language of figures correctly is not to be over-impressed by the apparent air of accuracy, and yet to be able to take account of error and inaccuracy in such a way as to know when, and when not, to use the figures. This is a matter of skill, judgment, and experience, and there are no rules and short cuts in acquiring this expertness." (Ely Devons, "Essays in Economics", 1961)

"The preparation of well-designed graphics is both an art and a skill. There are many different ways to go about the task, and readers are urged to develop their own approaches. Graphics can be creative and fun. At the same time, they require a degree of orderly and systematic work." (Robert Lefferts, "Elements of Graphics: How to prepare charts and graphs for effective reports", 1981)

"Unlike some art forms. good graphics should be as concrete. geometrical, and representational as possible. A rectangle should be drawn as a rectangle, leaving nothing to the reader's imagination about what you are trying to portray. The various lines and shapes used in a graphic chart should be arranged so that it appears to be balanced. This balance is a result of the placement of shapes and lines in an orderly fashion." (Robert Lefferts, "Elements of Graphics: How to prepare charts and graphs for effective reports", 1981)

"Graphical competence demands three quite different skills: the substantive, statistical, and artistic. Yet now most graphical work, particularly at news publications, is under the direction of but a single expertise-the artistic. Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose. Substantive and quantitative expertise must also participate in the design of data graphics, at least if statistical integrity and graphical sophistication are to be achieved." (Edward R Tufte, "The Visual Display of Quantitative Information", 1983)

"Model building is the art of selecting those aspects of a process that are relevant to the question being asked. As with any art, this selection is guided by taste, elegance, and metaphor; it is a matter of induction, rather than deduction. High science depends on this art." (John H Holland, "Hidden Order: How Adaptation Builds Complexity", 1995)

"Visualization for large data is an oxymoron - the art is to reduce size before one visualizes. The contradiction (and challenge) is that we may need to visualize first in order to find out how to reduce size." (Peter Huber, "Massive datasets workshop: Four years after", Journal of Computational and Graphical Statistics Vol. 8(3), 1999)

"Models need to be judged by what they eliminate as much as by what they include - like stone carving, the art is in removing what you do not need." (John H Miller & Scott E Page, "Complex Adaptive Systems: An Introduction to Computational Models of Social Life", 2007)

"But to a ballet dancer, the art is in getting all the body parts to do those things in sync with a musical score to tell a wordless story of emotion entirely through change in position over time. In data visualization, as in physics and ballet, motion is a manifestation of the relation between time and space, and so the recording and display of motion added time as a fourth dimension to the abstract world of data." (Michael Friendly. "Milestones in the history of thematic cartography, statistical graphics, and data visualization", 2008) 

"Visual displays of empirical information are too often thought to be just compact summaries that, at their best, can clarify a muddled situation. This is partially true, as far as it goes, but it omits the magic. […] sometimes, albeit too rarely, the combination of critical questions addressed by important data and illuminated by evocative displays can achieve a transcendent, and often wholly unexpected, result. At their best, visualizations can communicate emotions and feelings in addition to cold, hard facts."  (Michael Friendly. "Milestones in the history of thematic cartography, statistical graphics, and data visualization", 2008) 

"The fact that an information graphic is designed to help us complete certain intellectual tasks is what distinguishes it from fine art." (Alberto Cairo, "The Functional Art", 2011)

"Data art is characterized by a lack of structured narrative and absence of any visual analysis capability. Instead, the motivation is much more about creating an artifact, an aesthetic representation or perhaps a technical/technique demonstration. At the extreme end, a design may be more guided by the idea of fun or playfulness or maybe the creation of ornamentation." (Andy Kirk, "Data Visualization: A successful design process", 2012)

"The art side of the field [data visualization] refers to the scope for unleashing design flair and encouraging innovation, where you strive to design communications that appeal on an aesthetic level and then survive in the mind on an emotional one." (Andy Kirk, "Data Visualization: A successful design process", 2012)

"[...] data visualization [is] a tool that, by applying perceptual mechanisms to the visual representation of abstract quantitative data, facilitates the search for relevant shapes, order, or exceptions. [...]  We must think of data visualization as a generic field where several (combinations of) perspectives, processes, technologies, and objectives (not forgetting the subjective component of personal style) can coexist. In this sense, data art, infographics, and business visualization are branches of data visualization." (Jorge Camões, "Data at Work: Best practices for creating effective charts and information graphics in Microsoft Excel", 2016)

"Selecting the right measure and measuring things right are both art and science. And KPIs influence management behavior as well as business culture." (Pearl Zhu, "CIO Master: Unleash the Digital Potential of It", 2016)

[…] no single visualization is ever quite able to show all of the important aspects of our data at once - there just are not enough visual encoding channels. […] designing effective visualizations to make sense of data is not an art - it is a systematic and repeatable process." (Danyel Fisher & Miriah Meyer, "Making Data Visual", 2018)

"Data visualization is part art and part science. The challenge is to get the art right without getting the science wrong and vice versa." (Claus O Wilke, "Fundamentals of Data Visualization", 2019)

"Data visualization is a mix of science and art. Sometimes we want to be closer to the science side of the spectrum - in other words, use visualizations that allow readers to more accurately perceive the absolute values of data and make comparisons. Other times we may want to be closer to the art side of the spectrum and create visuals that engage and excite the reader, even if they do not permit the most accurate comparisons." (Jonathan Schwabish, "Better Data Visualizations: A guide for scholars, researchers, and wonks", 2021)

🏗️Software Engineering: Art (Just the Quotes)

"Doing engineering is practicing the art of the organized forcing of technological change." (George Spencer-Brown, Electronics, Vol. 32 (47), 1959)

"Engineering is a method and a philosophy for coping with that which is uncertain at the earliest possible moment and to the ultimate service to mankind. It is not a science struggling for a place in the sun. Engineering is extrapolation from existing knowledge rather than interpolation between known points. Because engineering is science in action - the practice of decision making at the earliest moment - it has been defined as the art of skillful approximation. No situation in engineering is simple enough to be solved precisely, and none worth evaluating is solved exactly. Never are there sufficient facts, sufficient time, or sufficient money for an exact solution, for if by chance there were, the answer would be of academic and not economic interest to society. These are the circumstances that make engineering so vital and so creative." (Ronald B Smith, "Engineering Is…", Mechanical Engineering Vol. 86 (5), 1964)

"We have seen that computer programming is an art, because it applies accumulated knowledge to the world, because it requires skill and ingenuity, and especially because it produces objects of beauty. A programmer who subconsciously views himself as an artist will enjoy what he does and will do it better. Therefore we can be glad that people who lecture at computer conferences speak of the state of the Art." (Donald E Knuth, "The Art of Computer Programming", 1968)

"The art of programming is the art of organizing complexity, of mastering multitude and avoiding its bastard chaos as effectively as possible." (Edsger W Dijkstra, "Notes on Structured Programming", 1970)

"Programming is the art of writing essays in crystal clear prose and making them executable." (Per B Hansen, "The architecture of concurrent programs", 1977) 

"If the advancement of the general art of programming requires the continuing invention and elaboration of paradigms, advancement of the art of the individual programmer requires that he expand his repertory of paradigms." (Robert Floyd, "The Paradigms of Programming", 1979)

"No matter how vigorously a 'science' of design may be pushed, the successful design of real things in a contingent world will always be based more on art than on science. Unquantifiable judgments and choices are the elements that determine the way a design comes together. Engineering design is simply that kind of process. It always has been; it always will be. (Eugene S Ferguson , "Engineering and the Mind’s Eye", 1992)

"Model building is the art of selecting those aspects of a process that are relevant to the question being asked. As with any art, this selection is guided by taste, elegance, and metaphor; it is a matter of induction, rather than deduction. High science depends on this art." (John H Holland," Hidden Order: How Adaptation Builds Complexity", 1995)

"Much of the art of system dynamics modeling is discovering and representing the feedback processes, which, along with stock and flow structures, time delays, and nonlinearities, determine the dynamics of a system. […] the most complex behaviors usually arise from the interactions (feedbacks) among the components of the system, not from the complexity of the components themselves." (John D Sterman, "Business Dynamics: Systems thinking and modeling for a complex world", 2000)

"As a noun, design is the named (although sometimes unnamable) structure or behavior of a system whose presence resolves or contributes to the resolution of a force or forces on that system. A design thus represents one point in a potential decision space. A design may be singular (representing a leaf decision) or it may be collective (representing a set of other decisions). As a verb, design is the activity of making such decisions. Given a large set of forces, a relatively malleable set of materials, and a large landscape upon which to play, the resulting decision space may be large and complex. As such, there is a science associated with design (empirical analysis can point us to optimal regions or exact points in this design space) as well as an art (within the degrees of freedom that range beyond an empirical decision; there are opportunities for elegance, beauty, simplicity, novelty, and cleverness). All architecture is design but not all design is architecture. Architecture represents the significant design decisions that shape a system, where significant is measured by cost of change." (Grady Booch, "On design", 2006)

"Architecting is both an art and a science - both synthesis and analysis, induction and deduction, and conceptualization and certification - using guidelines from its art and methods from its science. As a process, it is distinguished from systems engineering in its greater use of heuristic reasoning, lesser use of analytics, closer ties to the client, and particular concern with certification of readiness for use."  (Mark W Maier, "The Art Systems of Architecting" 3rd Ed., 2009)

"Programming is a science dressed up as art, because most of us don’t understand the physics of software and it’s rarely, if ever, taught. The physics of software is not algorithms, data structures, languages, and abstractions. These are just tools we make, use, and throw away. The real physics of software is the physics of people. Specifically, it’s about our limitations when it comes to complexity and our desire to work together to solve large problems in pieces. This is the science of programming: make building blocks that people can understand and use easily, and people will work together to solve the very largest problems." (Pieter Hintjens, "ZeroMQ: Messaging for Many Applications", 2012)

"Computer programming is like the ability or skill to see what Picasso saw from all the different angles at once. If it is an art, the crucial element of art is to look at things from an angle that produces new insight or at least has that potential." (Erik Naggum)

"To me programming is more than an important practical art. It is also a gigantic undertaking in the foundations of knowledge." (Grace Hopper)