Digitale Technologien verändern nicht nur die Rezeptionsmöglichkeiten musealer Bestände im Kontext von digitalen Ausstellungen und Vermittlung, sie haben gleichzeitig zu einer methodischen Erweiterung geisteswissenschaftlicher Forschung beigetragen. Der vorliegende Beitrag untersucht in diesem Zusammenhang die Potenziale von Visualisierung für die kunstgeschichtliche Forschung, Lehre und Wissensvermittlung. Neben einer Begriffsklärung und Einführung in die Grundprinzipien computergestützter Visualisierungstechniken illustriert der Beitrag anhand von existierenden Beispielen aus der Praxis die erörterten Mechanismen und Anwendungsmöglichkeiten. Der Fokus liegt dabei auf den Potenzialen, die Informationsvisualisierung für die Repräsentation und Rezeption von kunsthistorischen Daten und Bildquellen bereithält. Hierbei wird der Einsatz von Visualisierung als Analysemethode innerhalb eines Forschungs- und Erkenntnisprozesses sowie als Mittel zur Präsentation von Ergebnissen und bildgestützter Argumentation beschrieben.

We present a hybrid visualization technique that integrates maps into network visualizations to reveal and analyze diverse topologies in geospatial movement data. With the rise of GPS tracking in various contexts such as smartphones and vehicles there has been a drastic increase in geospatial data being collect for personal reflection and organizational optimization. The generated movement datasets contain both geographical and temporal information, from which rich relational information can be derived. Common map visualizations perform especially well in revealing basic spatial patterns, but pay less attention to more nuanced relational properties. In contrast, network visualizations represent the specific topological structure of a dataset through the visual connections of nodes and their positioning. So far there has been relatively little research on combining these two approaches. Shifted Maps aims to bring maps and network visualizations together as equals. The visualization of places shown as circular map extracts and movements between places shown as edges, can be analyzed in different network arrangements, which reveal spatial and temporal topologies of movement data. We implemented a web-based prototype and report on challenges and opportunities about a novel network layout of places gathered during a qualitative evaluation.

This research explores the merit of alternative arrangements of cultural artifacts to expose the aesthetic abundance of a cultural collection. The conventional display of museum objects in online interfaces tends to neglect the physical gestalt of the collection. For example, coins typically end up in tabular grids of thumbnail pages in online collections mimicking their rigid placement in storage drawers of a depot and glass cabinets in exhibitions. The overall aim behind this research was to devise visualizations that do justice to the material and semantic richness of an entire collection, while providing a casual mode of access that is inviting to people with no background in numismatics. To do this, we undertook an iterative design process, which involved a close collaboration with numismaticians and playful ideation with actual coins. Carefully negotiating expert knowledge and lay curiosity, the resulting visualization represents the collection’s dimensions using thousands of thumbnails as visual data points. The coins can be arranged into various layouts such as piles representing, for example, metal types, or streams visualizing the ebb and flow of coins over the centuries. In the interface, one can play with the coins in a manner that would be unthinkable in a physical exhibition and that has not been tried in a digital display. The article reports on the overall research and design process of this project, the resulting interface concept and prototype, and the feedback received during two evaluations.

After decades of digitization, large cultural heritage collections have emerged on the web, which contain massive stocks of content from galleries, libraries, archives, and museums. This increase in digital cultural heritage data promises new modes of analysis and increased levels of access for academic scholars and casual users alike. Going beyond the standard representations of search-centric and grid-based interfaces, a multitude of approaches has recently started to enable visual access to cultural collections, and to explore them as complex and comprehensive information spaces by the means of interactive visualizations. In contrast to conventional web interfaces, we witness a widening spectrum of innovative visualization types specially designed for rich collections from the cultural heritage sector. This new class of information visualizations gives rise to a notable diversity of interaction and representation techniques while lending currency and urgency to a discussion about principles such as serendipity, generosity, and criticality in connection with visualization design. With this survey, we review information visualization approaches to digital cultural heritage collections and reflect on the state of the art in techniques and design choices. We contextualize our survey with humanist perspectives on the field and point out opportunities for future research.

Wie sieht die Zukunft der Recherche in digitalen Bibliothekskatalogen aus? Wie können umfangreiche und heterogene Sammlungsbestände mit Hilfe von Datenvisualisierungen besser zugänglich gemacht werden? Kann man durch eine digitale Bibliothek flanieren und dabei den Bestand auf ganz neue Art entdecken? Diese Fragen standen im Zentrum eines Forschungsprojekts, das ein interdisziplinäres Team von Forscherinnen und Forschern des Urban Complexity Lab der FHP im vergangenen Jahr in Kooperation mit der DNB durchgeführt hat. Dieser Artikel stellt das Hauptergebnis des Projekts vor: DNBVIS, der Prototyp eines experimentellen Kataloginterfaces. Anschließend werden die Vorgehensweise und wichtigsten Erkenntnisse des Projekts zusammengefasst.

Das Versprechen hinter Digitalisierungsprojekten in sammelnden Institutionen ist oft die Erweiterung des Zugangs zum kulturellen Erbe, sei es für die Forschung oder im Sinne der Vermittlung. Bei kritischer Betrachtung fast aller Benutzerschnittstellen für Sammlungen scheint es aber an Ansätzen zu fehlen, reichhaltige Informationsräume einladend bereitzustellen. Diese Diskrepanz zwischen Digitalisierung von Sammlungen und ihrer digitalen Verfügbarmachung lässt sich dadurch begründen, dass Kultureinrichtungen selten über die nötige Kapazität verfügen, eigenständig Benutzerschnittstellen zu konzipieren und umzusetzen. Die Zielstellung des dreijährigen Forschungsprojektes Visualisierung kultureller Sammlungen (VIKUS) an der Fachhochschule Potsdam1 war die Erforschung graphischer Benutzerschnittstellen zur explorativen Sichtung von Kulturobjekten. Im Projekt wurden in Kooperation mit Kultur- und Technologiepartnern Erkenntnisse zur visuellen Exploration digitalisierter Sammlungen gewonnen (Glinka et al. 2017a), die Entwicklung nachhaltiger Technologielösungen behandelt (Glinka et al. 2017b) und in experimentellen Settings kritisch-generative Methoden erprobt. Zu letzterem zählt die Übertragung der Forschungsfragen in den Kontext eines interdisziplinären Lehrformats, welches wir in unserem Beitrag diskutieren. Wir gehen insbesondere auf den produktiven Zusammenhang zwischen Kritik und Konzeption von Informationsvisualisierungen ein und zeigen auf, welche Potenziale ein bewusster Bruch mit disziplinären Konventionen und Sehgewohnheiten mit sich bringt.

As cultural institutions are digitizing their artifacts and interlinking their collections, new opportunities emerge to engage with cultural heritage. However, it is the often comprehensive and complex nature of collections that can make it difficult to grasp their distribution and extent across a variety of dimensions. After a brief introduction to the research area of collection visualizations, this paper presents a design study visualizing an aggregated collection from diverse cultural institutions in Germany. We detail our iterative design process leading to prototypical implementations of four stylistically and functionally coordinated visualizations, each one focusing on different facets of the collection.

With the proliferation of personal and social computing there is an increased interest in the field of human-computer interaction to support people’s memory practises. Yet, there is only a limited understanding of the role of artefacts in the social dynamics in memory. With memory dialogue, we introduce a methodology for exploring artefact-based memory sharing. Participants created physical or digital memory artefacts, exchanged them, and reflected on the process. Our qualitative findings show how this method can help uncover the complexity of shared memory. Participants largely chose bonding experiences and created artefacts as conversation starters about differences in their memories.

Museums are broadening their program beyond the physical institutions by providing digital collections online. In digital collections, objects are prepared and presented particularly for the Web and the ambition is to provide the entirety of a physical collection. To make these rich and comprehensive data sets accessible, an explore mode is increasingly offered. The present study considers this mode, first by making sense of the term “exploration” and suggesting four functional principles in support of exploration in digital collections — view, movement, contextualization, and participation. On this basis, we compare eight well-known museums with regard to the explore modes for their digital collections. We have devised a three-part methodology, reverse information architecture, to address the question: How is the function of exploration manifested in the structure and interface elements of digital collections? With this unique method we use the given content to investigate how far the four principles are implemented in explore modes of digital collections and, broadly said, how explorable they are. The introduced approach to studying digital collections could be opened up to other fields to analyze a variety of Web interfaces in general.

Die Entwicklung digitaler Werkzeuge lässt sich als wichtiger Teilbereich in den Digital Humanities identifizieren (Davis und Kräutli 2015; Schnapp et al. 2009). Entsprechende Forschung und Projektarbeit steht dabei komplexen Herausforderungen gegenüber. Nicht nur die Frage nach verfügbaren Daten, methodologischer Fundierung und technologischer Umsetzbarkeit, sondern auch die Frage nach deren langfristigen Verfügbarmachung sind wiederkehrende Themen der letzten Jahre. Eine zentrale Rolle für die Sicherstellung von Qualität und Anwendbarkeit der digitalen Werkzeuge ist die Einbindung von Forscher_innen der jeweiligen geisteswissenschaftlichen Disziplinen im Entwicklungsprozess (Drucker 2013). Gleichzeitig lässt sich die zentrale Bedeutung von Interfacedesign, Nutzungsanleitungen und Benutzerfreundlichkeit als wichtige Faktoren für die Etablierung von digitalen Werkzeugen im Forschungsprozess feststellen (Gibbs und Owens 2012). Doch selbst wenn diese Herausforderungen bewältigt werden und ein digitales Werkzeug (erfolgreich) entwickelt wurde, stellt sich weiterhin die Frage, wie die langfristige Nachnutzung im Sinne einer digitalen Nachhaltigkeit sichergestellt werden kann. Am Beispiel des Entstehungsprozesses einer sammlungsspezifischen Visualisierung und deren Weiterentwicklung zu einem nachnutzbaren Werkzeug werden einige zentrale Aspekte der beeinflussenden Faktoren und Lösungsansätze vorgestellt. Unser Beitrag stellt sich somit der Frage, wie sichergestellt werden kann, dass digitale Tools auch über die Laufzeit von Förderprojekten hinaus (und unabhängig von spezifischen Use-cases) dauerhaft nutzbar und weiterentwickelbar sind.

Museen erweitern ihr Vermittlungsangebot immer mehr über die physische Einrichtung hinaus, u.a. durch die Bereitstellung Digitaler Sammlungen im Web. Digitale Sammlungen zeichnen sich dadurch aus, dass die in ihnen gezeigten Objekte speziell für das Web aufbereitet und präsentiert werden. Der Anspruch besteht dabei darin, die Gesamtheit der musealen Sammlungen zur Verfügung zu stellen. Um diese umfassenden Datensätze zugänglich und ein Schlendern durch die Bestände zu ermöglichen, wird innerhalb der Digitalen Sammlungen zunehmend ein sogenannter Explore-Modus angeboten. Auf der Basis einer Untersuchung des Begriffes der Exploration wurden im Rahmen dieser Arbeit acht bekannte Museen im Hinblick auf die Explore-Modi ihrer Digitalen Sammlungen miteinander verglichen und analysiert. Es wurde eine dreiteilige Methode mit dem Namen Reverse Information Architecture entwickelt, um die folgende Frage zu beantworten: Wie manifestiert sich die Funktion der Exploration in der Struktur und den Interface-Elementen der Digitalen Sammlungen? Mit der entwickelten Methode wird der Inhalt der Websites analysiert, um zu untersuchen, inwiefern Konzepte der Exploration in den Digitalen Sammlungen umgesetzt werden.

This work is part of ongoing research on the visualization of spatial relationships in fictional works. Our aim is to arrive at aesthetic representations of fictional narratives set in actual places such as cities. Novel City Maps offers two map views, one inspired by transit maps and the other by conventional street maps. The former uses the aesthetic of abstract transit maps to reveal the co-occurrence structures between important places in a story. The street map view is designed as a spatial fingerprint of a novel by highlighting the places occurring often in the story.

In this paper we examine the concept of staged analysis through a case study on visualizing urban mobility exhibited in a public gallery space. Recently, many cities introduced bike-sharing in order to promote cycling among locals and visitors. We explore how citizens can be guided from evocative impressions of bicycling flows to comparative analysis of three bike-sharing systems. The main aim for visualizations in exhibition contexts is to encourage a shift from temporary interest to deeper insight into a complex phenomenon. To pursue this ambition we introduce cf. city flows, a comparative visualization environment of urban bike mobility designed to help citizens casually analyze three bike-sharing systems in the context of a public exhibition space. Multiple large screens show the space of flows in bike-sharing for three selected world cities: Berlin, London, and New York. Bike journeys are represented in three geospatial visualizations designed to be progressively more analytical, from animated trails to small-multiple glyphs. In this paper, we describe our design concept and process, the exhibition setup, and discuss some of the insights visitors gained while interacting with the visualizations.

In this article we present a case study on digital representation of the art historical research and metadata brought together for a scientific collection catalogue by the Prussian Palaces and Gardens Foundation Berlin-Brandenburg. The resulting interface aims at linking the structure and texture of a collection of drawings by Frederick William IV of Prussia (1795–1861) with additional contextual information. The article describes the context of the larger research project and presents the resulting visualization and interaction techniques specifically designed for dynamic exploration along time and subjects.

Culturegraphy visualizes the exchange of cultural information over time. Treating cultural works as nodes and influences as directed edges the visualization of these cultural networks can provide new insights into the rich interconnections of cultural development such as movie references. All findings were made in a process that involved network scientists, a media theorist, and a sociologist. The role that visualization can play in bridging scientific communities was central to this work. In this sense, the resulting visualizations were process to bring researchers from different disciplines together. Traditionally using different methods, physicists increasingly ask similar questions as media theorists or sociologists as they study the dynamics in networks. Visualization can serve as a common language that brings fields together, shows differences, but also has its own idiosyncratic views.

Das computergestützte Extrahieren und Visualisieren von Emotionen in Texten ist eine etablierte Technik des “Distant Reading”. Die generelle Stimmung eines Textes kann schnell erfasst werden ohne den gesamten Text lesen zu müssen. Da Emotionen sehr komplex und die Eigenschaften zwischen verschiedenen Emotionen fließend sind, ist die visuelle Charakterisierung von Emotionen schwierig. Wir stellen Emosaic vor, ein Online-Tool welches Emotionen aus benutzerdefinierten Texten filtert und durch systematische und nachvollziehbare Farbumwandlung zur Exploration und Analyse innerhalb einer interaktiven Visualisierung bereitstellt. Die durch drei Dimensionen beschreibbaren Emotionen werden dabei in klar definierte Farbparameter übersetzt. Ein von uns entwickelter öffentlich zugänglicher Web-Prototyp zeigt anhand interaktiver Visualisierungen erste Analyse- und Explorationsmöglichkeiten dieser Methode (http://emosaic.de).

We present “archival liveness” as a concept in design and the Digital Humanities and describe its development within a Research Through Design process. Working with a newly acquired archive of contemporary poetry we produced designs that both manifested and “geared in to” [Durrant 2011] [Gurwitsch 1979] the temporal rhythms of the work and infrastructure of archiving. Drawing on user-centred work with participants, often poets themselves, we focused on marginalia as a material feature of the archive, developing a drawing machine and live Twitter bot. Our work addresses institutional concerns for outreach and engagement while also acknowledging and exploiting the inevitably incomplete or live character of archival collections. For designers working with digital archives, we demonstrate the pragmatic and critical value of liveness as a focus of the design process.

Im Rückgriff auf Ausstellungspraktiken im Museum stellt der Artikel Bezüge zwischen Erkenntnissen aus der Visualisierungsforschung und der Rezeption von Museumssammlungen in einem Ausstellungsdisplay her. Besondere Beachtung finden hierbei Makro- und Mikroperspektiven auf Sammlungen und Darstellungen im (digitalen) Display eines Museums. Visualisierungen können einen offenen und explorativen Zugang zu den digitalisierten Beständen bieten, der eher den Ausstellungs- und Vermittlungsaktivitäten des Museums entspricht oder diese ergänzt. Dabei werden die Potenziale der digitalen Präsentation herausgearbeitet und Anhand von Use Cases aus der Forschung illustriert, welche Ansätze in der facettierten und „kuratierten“ Inszenierung von Sammlungen umgesetzt werden können.

We introduce a set of integrated interaction techniques to interpret and interrogate dimensionality-reduced data. Projection techniques generally aim to make a high-dimensional information space visible in form of a planar layout. However, the meaning of the resulting data projections can be hard to grasp. It is seldom clear why elements are placed far apart or close together and the inevitable approximation errors of any projection technique are not exposed to the viewer. Previous research on dimensionality reduction focuses on the efficient generation of data projections, interactive customisation of the model, and comparison of different projection techniques. There has been only little research on how the visualization resulting from data projection is interacted with. We propose a set of interactive visualization methods to examine the dimensionality-reduced data as well as the projection itself. The methods let viewers see approximation errors, question the positioning of elements, compare them to each other, and visualize the influence of data dimensions on the projection space. We created a web-based system implementing these methods, and report on findings from an evaluation with data analysts using the prototype to examine multidimensional datasets.

At the intersection of information visualization and typography lies the design space of micro visualization, a family of basic techniques enriching text in regard of its accessibility, comprehensibility, and memorability. We propose a taxonomy that differentiates specific types of visualizations applied to text design and layout. We elaborate two main approaches to aligning the visual appearance of a text and its content. The first explores the addition of graphical elements embedded into or adjacent to a text, while the other approach explores the visual modification of a text by means of typographic visualization. For this we evaluate how different techniques can be used as visual variables.

In recent years, access to cultural heritage has been closely connected to digitisation. We argue the case for recognising this digital shift as an opportunity to create interfaces to cultural heritage that are, first of all, more inviting to the public. Secondly, we want to encourage critical approaches towards the representation of cultural production and allow for alternative or even conflicting narratives and interpretations to surface. We present related work, use cases, and concepts for visualisations and interfaces that invite the reconsideration of modes of categorisation, presentation and clustering. Our intent is to develop ways to scrutinise modes of exclusion, carry out critical evaluations and pursue interventional strategies. We discuss the specific potential of visualisation, annotation and dynamic expansion of digital cultural collections. Building on critical approaches in human-computer interaction, visualisation and cultural theories, we explore how the interface could be a means of reflection, critique and inclusion.

Text visualisations provide visual representations of documents or small corpora with the primary aim of supporting language analysis. We are interested in developing a more playful approach to language that can be characterised by the notion of wandering as an open-ended movement. To support such a casual form of engagement with text, we designed the WordWanderer system: a visualisation technique that extends tag clouds into a navigational interface for text. The tool supports the gradual movement between word ‘context views’, which represent the words that co-occur in the vicinity of the selected word, and word-‘comparison views’, which arrange words based on their association strengths between two selected words. We report on the encouraging feedback from a ten-day deployment of the interface and present promising directions for future design and research.

Network log files often need to be investigated manually for suspicious activity. The huge amount of log lines complicates maintaining an overview, navigation and quick pattern identification. We propose a system that uses an interactive visualization, a visual filter, representing the whole log in an overview, allowing to navigate and make context-preserving subselections with the visualization and in this way reducing the time and effort for security experts needed to identify patterns in the log file. This explorative interactive visualization is combined with focused querying to search for known suspicious terms that are then highlighted in the visualization and the log file itself.

We created a pixel map for multi-variate data based on an analysis of the needs of network security engineers. Parameters of a log record are shown as pixels and these pixels get stacked to represent a record. This allows a broad view of a data set on one screen while staying very close to the raw data and to expose common and rare patterns of user behavior through the visualization itself (the “Carpet”). Visualizations that immediately point to areas of suspicious activity without requiring extensive fltering, help network engineers investigating unknown computer security incidents. Most of them, however, have limited knowledge of advanced visualization techniques, while many designers and data scientists are unfamiliar with computer security topics. To bridge this gap, we developed visualizations together with engineers, following a co-creative process. We will show how we explored the scope of the engineers’ tasks and how we jointly developed ideas and designs. Our expert evaluation indicates that this visualization helps to scan large parts of log fles quickly and to defne areas of interest for closer inspection.

Culturegraphy visualizes cultural information exchange over time. Treating cultural works as nodes and influences as directed edges, the visualization of these cultural networks can provide new insights into the rich interconnections of cultural development. The graphics represent complex relationships of movie references by combining macro views summarizing 100 years of movie influences with micro views providing a close-up look at the embedding of individual movies. The macro view shows the rise of the self-referential character of postmodern cinema, while the micro level illustrates differences between individual movies, when they were referenced and by whom. The visualizations provide views that are closer to the real complexity of the relationships than aggregated views or rankings could do.

Monadic exploration is a new approach to interacting with relational information spaces that challenges the distinction between the whole and its parts. Building on the work of sociologists Gabriel Tarde and Bruno Latour we turn to the concept of the monad as a useful lens on online communities and collections that expands the possibility for creating meaning in their navigation. While existing interfaces tend to emphasize either the structure of the whole or details of a part, monadic exploration brings these opposing perspectives closer together in continuous movements between partially overlapping points of view. We present a visualization that reflects a given node’s relative position within a network using radial displacements and visual folding. To investigate the potential of monadic exploration we report on an iterative design process of a web-based visualization of a highly cross-referenced book and its six-month deployment.

A photo archive contains diverse narratives that only get partially exposed in digital interfaces. In this paper we explore a potential framework for archivists and designers to create photo archive interfaces that are sensitive to the ethos and social context of its content. We outline our approach to engaging with archival projects and present the results of a pilot workshop, which raised a range of complex questions about the design of visual interfaces. Our aim is to practically and conceptually expand how a visual interface would let a visitor access, explore, and interpret the contents of an archive. To do this we are interested in the different associations that people weave between the artefacts of an archive.

We present a visualization of subject headings that typically accompany books as flat textual metadata. The purpose of the visualization is twofold: first to expose the implicit structure in subject headings as an overview of a library collection and second to present a visual web of keywords to invite exploration of books. Taking a tag cloud as a starting point, the visualization extends it to a networked tag cloud that respects the hierarchy that is implicit in subject headings. By allowing an information seeker to successively build a subject filter, while seeing the results at each step, we hope to improve the searcher’s orientation in a comprehensive book collection.

In this paper we offer a critical discussion of data visualization by adapting theories of indexicality as discussed in semiotics and art history. An indexical statement is broadly one whose meaning is dependent on context. We examine how indexicality has informed practices in cinema, photography, and contemporary art and make comparisons with data visualization. Specifically, we explore how these analogies can result in generative concepts that can inform the design and study of data visualization.

As information visualization is increasingly used to raise awareness about social issues, difficult questions arise about the power of visualization. So far the research community has not given sufficient thought to how values and assumptions pervade information visualization. Taking engaging visualizations as a starting point, we outline a critical approach that promotes disclosure, plurality, contingency, and empowerment. Based on this approach, we pose some challenges and opportunities for visualization researchers and practitioners.

We present a new method for displaying visualization parameters to guide casual data exploration. When visualizing datasets with large parameter spaces it can be difficult to move between data views. Building on social navigation and degree-of-interest visualization, we propose the concept of accentuation as the selection and emphasis of visualization parameters based on social and semantic signals. We describe how we designed an accentuated visualization interface, and discuss open challenges and directions for future research.