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Fig. 21: Cultural analytics chart selection 2 (with VisualeSense) by Lev Manovich, 2010

Figure 21 Cultural analytics chart selection 2 (with VisualeSense) by Lev Manovich, 2010

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Fig. 2: Spaces Can be Linked Together in Such a Way as to Imply other Spaces in between Them
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Fig. 3: Julian Oliver's levelHead (2007) — a Game with an Augmented Reality Interface form of augmented reality. The player manipulates small cubes atop a
Fig. 3: Julian Oliver's levelHead (2007) — a Game with an Augmented Reality Interface form of augmented reality. The player manipulates small cubes atop a
Fig. 1: A simple division of the empirical object into three main components the key elements of which any virtual environment game consists.
Fig. 1: A simple division of the empirical object into three main components the key elements of which any virtual environment game consists.
Fig. 2: THE HOWARD DEAN FOR IOWA GAME (Screenshot)
Fig. 2: THE HOWARD DEAN FOR IOWA GAME (Screenshot)
Fig. 3: KABOOM! — THE SUICIDE BOMBER GAME (Screenshot)
Fig. 3: KABOOM! — THE SUICIDE BOMBER GAME (Screenshot)
Fig. 1: History Flow by Fernanda B. Viégas and Martin Wattenberg, 2003 (Screen- page grows over time as different authors contribute to it.
Fig. 1: History Flow by Fernanda B. Viégas and Martin Wattenberg, 2003 (Screen- page grows over time as different authors contribute to it.
Fig. 2: Flight Patterns by Aaron Koblin, 2005 (www.aaronkoblin.com) the pattern formed by their movement over a 24-hour period.
Fig. 2: Flight Patterns by Aaron Koblin, 2005 (www.aaronkoblin.com) the pattern formed by their movement over a 24-hour period.
Fig. 3: London Tube Map by Harry Beck (www.tfl.gov.uk/)
Fig. 3: London Tube Map by Harry Beck (www.tfl.gov.uk/)
Fig. 5: Flickr Graph by Marcos Weskamp, 2005 (marumushi.com) LLG. 9. LUCK Ulapil DY IMialCOs VWEonalllp, 42UU0 (lal usmiusotll. COLML I believe that the majority of information visualization practices from the second part of the 18‘ century until today follow the same principle — reserving spatial arrangement (we can call it “layout”) for the dimensions of the data that are most important for the authors of visualizations. This principle can be found in works ranging from famous dense graphic showing Napoleon's March on Moscow by Charles Joseph Minard to a recent The Evolution of ‘The Origin of Species’ by Stefanie Posavec and Greg MciInerny. —, 6¢ ne ANP \
Fig. 5: Flickr Graph by Marcos Weskamp, 2005 (marumushi.com) LLG. 9. LUCK Ulapil DY IMialCOs VWEonalllp, 42UU0 (lal usmiusotll. COLML I believe that the majority of information visualization practices from the second part of the 18‘ century until today follow the same principle — reserving spatial arrangement (we can call it “layout”) for the dimensions of the data that are most important for the authors of visualizations. This principle can be found in works ranging from famous dense graphic showing Napoleon's March on Moscow by Charles Joseph Minard to a recent The Evolution of ‘The Origin of Species’ by Stefanie Posavec and Greg MciInerny. —, 6¢ ne ANP \
Fig. 6: Napoleon’s March to Moscow 1812/13 by Charles J. Minard, 1869 (www.edwardtufte.com) (www. visualcomplexity.com/vc/project.cfm?id=696)
Fig. 6: Napoleon’s March to Moscow 1812/13 by Charles J. Minard, 1869 (www.edwardtufte.com) (www. visualcomplexity.com/vc/project.cfm?id=696)
Fig. 8: “mp3 players”-Search by Google Trends, 2010 (www.google.com)
Fig. 8: “mp3 players”-Search by Google Trends, 2010 (www.google.com)
Fig. 10: Word Tree (manyeyes.alphaworks.ibm.com
Fig. 10: Word Tree (manyeyes.alphaworks.ibm.com
Fig. 11: Cinema Redux: Vertigo, 2004 (www. brendandawes.com)
Fig. 11: Cinema Redux: Vertigo, 2004 (www. brendandawes.com)
Fig. 13: AnnaKarenina_string_text_over_rectangles by Lev Manovich, 2009 well beyond the normal screen resolution today.
Fig. 13: AnnaKarenina_string_text_over_rectangles by Lev Manovich, 2009 well beyond the normal screen resolution today.
Fig. 14: Listening Post by Ben Rubin and Mark Hansen, 2001 (www.earstudio.com) ed from the same text that is being animated on the wall.
Fig. 14: Listening Post by Ben Rubin and Mark Hansen, 2001 (www.earstudio.com) ed from the same text that is being animated on the wall.
Fig. 15: Writing Without Words by Stefanie Posavec, 2007 tentionally preserve the original sequence.
Fig. 15: Writing Without Words by Stefanie Posavec, 2007 tentionally preserve the original sequence.
Fig. 17: Supervizualizaiton on HIPerSpace (vis.ucsd.edu) low the interactive exploration of large sets of visual cultural data.
Fig. 17: Supervizualizaiton on HIPerSpace (vis.ucsd.edu) low the interactive exploration of large sets of visual cultural data.
Fig. 18: Time-covers-all by Jeremy Douglass and Lev Manovich, 2009
Fig. 18: Time-covers-all by Jeremy Douglass and Lev Manovich, 2009
Fig. 22: Mark Rothko Paintings on the 287-Megapixel HIPerSpace-Wall at Calit2, 2009
Fig. 22: Mark Rothko Paintings on the 287-Megapixel HIPerSpace-Wall at Calit2, 2009
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