References and Further Reading 1. Aristotelianism Improved access to a great deal of previously unknown literature from ancient Greece and Rome was an important aspect of Renaissance philosophy. The renewed study of Aristotlehowever, was not so much because of the rediscovery of unknown texts, but because of a renewed interest in texts long translated into Latin but little studied, such as the Poeticsand especially because of novel approaches to well-known texts. From the early fifteenth century onwards, humanists devoted considerable time and energy to making Aristotelian texts clearer and more precise.
Are you ready for what comes next?
The ways we relate to data are evolving more rapidly than we realize, and our minds and bodies are naturally adapting to this new hybrid reality built of both physical and informational structures.
And visual design—with its power to instantly reach out to places in our subconscious without the mediation of language, and with its inherent ability to convey large amounts of structured and unstructured information across cultures—is going to be even more central to this silent but inevitable revolution.
Data visualization pioneers such as William Playfair, John Snow, Florence Nightingale and Charles Joseph Minard were the first to leverage and codify this potential in the 18th and 19th centuries, and modern advocates such as Edward Tufte, Ben Shneiderman, Jeffrey The idea of humanism and the renaissance and Alberto Cairo are among those responsible for the renaissance of the field over the last 20 years, supporting the transition of these principles to the world of Big Data.
Thanks to this renewed interest, a first wave of data visualization took over the web and reached a broader audience outside the academic environments where it lived until then. But sadly, this wave was ridden by many in a superficial way, as a linguistic shortcut to compensate for the natural vertigo caused by the immeasurable nature of Big Data.
In fact, visual design is often applied to data simply as a cosmetic retouch of important and complicated issues in an attempt to make them look simpler than they are.
What made cheap marketing infographics so popular is probably their biggest contradiction: But not all is bad in this sudden craze for data visualization. Not only are we now realizing that there is still a substantial distance between the real potential that lies hidden in vast pools of data and the superficial imagery we often use to represent them, but most importantly, we realize that the first wave was successful in making others more familiar with new terms and visual languages.
Now that we are past what we can call peak infographics, we are left with a general audience that understands some of the tools needed to welcome a second wave of more meaningful and thoughtful visualization.
We are ready to question the impersonality of a merely technical approach to data, and to begin designing ways to connect numbers to what they really stand for: Data represents real life. It is a snapshot of the world in the same way that a picture catches a small moment in time.
Numbers are always placeholders for something else, a way to capture a point of view—but sometimes this can get lost. Failing to represent these limitations and nuances and blindly putting numbers in a chart is like reviewing a movie by analyzing the chemical properties of the cellulose on which the images were recorded.
The more ubiquitous data becomes, the more we need to experiment with how to make it unique, contextual, intimate.
The way we visualize it is crucial because it is the key to translatingnumbers into concepts we can relate to. So how do we move forward? Creating new points of view or uncovering something new typically cannot happen at a mere glance; this process of revelation often needs and requires an in-depth investigation of the context.
Our role was to conceive visual narratives, based on data, that achieved the same thoughtfulness and depth of the other essays published in the supplement—pushing the boundaries of what visualization can do with high-density data rife with multiple attributes.
Each week, we chose an interesting topic to explore, and we searched for multiple data sources, both quantitative and qualitative, that we then combined into a single elaborate visual narrative.
The goal was to move away from a simple measurement of quantity; we transformed raw information into interconnected knowledge, presenting unexpected parallels and secondary tales to supplement the main story. Since clarity does not need to come all at once, we layered multiple visual narratives over a main construct that served as the jumping-in point for readers to begin and follow their interest.
We call this process nonlinear storytelling; people can get happily lost exploring individual elements, minor tales and larger trends within the greater visualization, while being naturally invited to engage with the visual on deeper levels. We can write rich and dense stories with data.
Dense and unconventional data visualizations promote slowness—a particularly poignant goal to set in our era of ever-shortening attention spans. If we can create visuals that encourage careful reading and personal engagement, people will find more and more real value in data and in what it represents.
Business intelligence tools and data viz tools for marketers have led many to believe that the ideal way to make sense of information is to load data into a tool, pick from among a list of suggested out-of-the-box charts, and get the job done in a couple of clicks.
This common approach is actually nothing more than blindly throwing technology at the problem, sometimes without spending enough time framing the question that triggered the exploration in the first place.
This often leads to results that are not only practically useless, but also deeply wrong, because prepackaged solutions are rarely able to frame problems that are difficult to define, let alone solve.
The art of information display is every bit as artful as any other type of design or illustration, with the notable exception that it must tell a factual or linear story. What I always do when I start a new data project is to move away from the screen and start drawing.
I draw with data in my mind, but with no data in my pen: I sketch with data to understand what is contained in the numbers and in their structure, and how to define and organize those quantities in a visual way to create opportunities to gain insight.This bar-code number lets you verify that you're getting exactly the right version or edition of a book.
The digit and digit formats both work. Humanism and the visual arts. Humanistic themes and techniques were woven deeply into the development of Italian Renaissance urbanagricultureinitiative.comsely, the general theme of “art” was prominent in humanistic discourse.
Hellenistic Monarchs down to the Roman Empire. The Hellenistic Age suffers from some of the same disabilities as Late Antiquity, i.e. it doesn't measure up to the brilliance of the Golden Age of Greece and of late Republican and early Imperial Rome.
Recent Examples on the Web. What was likely a fairly modest budget means Au sticks to basics technically, though anything flashy would detract from the pic’s essential humanism.
— Elizabeth Kerr, The Hollywood Reporter, "'Distinction' ('Fei tung faan heung'): Film Review," 27 June Stevie Wonder makes an appearance to preach universal love, but unlike a certain other pop idol’s.
Detail of The Birth of Venus () by Botticelli, one of the finest painters of the Italian Renaissance in Florence. WORLD'S BEST ART For the finest oil painting, see.
General Characteristics of the Renaissance "Renaissance" literally means "rebirth." It refers especially to the rebirth of learning that began in Italy in the fourteenth century, spread to the north, including England, by the sixteenth century, and ended in the north in the mid-seventeenth century (earlier in Italy).
The great intellectual movement of Renaissance Italy was humanism. The humanists believed that the Greek and Latin classics contained both all the lessons one needed to lead a moral and effective life and the best models for a powerful Latin style. The Renaissance was a cultural era born largely out of humanism, according to Boston University. The concept of individualism, which was linked closely to humanist thought, had a profound impact on the Renaissance movement by encouraging the individual to flourish in all areas of life. Humanism is a philosophical and ethical stance that emphasizes the value and agency of human beings, individually and collectively, and generally prefers critical thinking and evidence (rationalism and empiricism) over acceptance of dogma or urbanagricultureinitiative.com meaning of the term humanism has fluctuated according to the successive intellectual movements which have identified with it.