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Social anxiety disorder (SAD) is one of the most commonly diagnosed anxiety disorders and a health concern that has a significant impact on the affected individuals’ quality of life. Although there is a need to develop methods and tools to support those affected by SAD, it is especially challenging to conduct participatory design with this psychologically vulnerable group of people. This paper presents the design, implementation and evaluation of a participatory format built on a toolkit, a cultural probe and an online prototyping workshop to gain insights into the challenges and needs experienced in the everyday lives of those affected by severe social anxiety. We provide the theoretical framework for designing a participatory format for this vulnerable group, introduce and discuss our methodological approach, and present the lessons learned from implementing and evaluating the format in two workshop sessions with a total of 15 participants.
Journalism has become more data-driven and inherently visual in recent years. Photographs, illustrations, infographics, data visualizations, and general images help convey complex topics to a wide audience. The way that visual artifacts influence how readers form an opinion beyond the text is an important issue to research, but there are few works about this topic. In this context, we research the persuasive, emotional and memorable dimensions of data visualizations and illustrations in journalistic storytelling for long-form articles. We conducted a user study and compared the effects which data visualizations and illustrations have on changing attitude towards a presented topic. While visual representations are usually studied along one dimension, in this experimental study, we explore the effects on readers' attitudes along three: persuasion, emotion, and information retention. By comparing different versions of the same article, we observe how attitudes differ based on the visual stimuli present, and how they are perceived when combined. Results indicate that the narrative using only data visualization elicits a stronger emotional impact than illustration-only visual support, as well as a significant change in the initial attitude about the topic. Our findings contribute to a growing body of literature on how visual artifacts may be used to inform and influence public opinion and debate. We present ideas for future work to generalize the results beyond the domain studied, the water crisis.
This article investigates data journalism epistemology through Michel Foucault’s definition of power. The growing demand for data-savvy reporters with computational skills has been proven to shift the newsrooms’ culture in media companies across the globe. Previous research has documented journalists’ shift towards a data-centred epistemology and the increasingly important role of computation and data-driven practices in newsrooms. By focusing on inexperienced journalists as they mobilise data journalism for the first time, this research openly discusses its epistemology as a form of Foucauldian power: which epistemological tensions – individual or structural – emerge among newcomers when reporting extensively with data? The article presents the case of a newly formed data journalism team at taz, a German cooperative media company. It is based on qualitative data collected through action research, namely six in-depth interviews, auto-ethnographic notes and self-reflective inquiries. Data are framed through Foucault’s concepts of power and will to truth. Results show the discord between data journalism epistemology and its practical implementation. Despite prioritising democratic access to data, technologies and non-hierarchical forms of cooperation, data journalism remains largely dependent on traditional methods and culture.
Transdisciplinary research processes often involve the integration of knowledge and stakeholders from various backgrounds. Here, we introduce the story of the research project AMA (A Mindset for the Anthropocene) on the role of mindsets in the context of sustainability and present an interactive visualization tool that we developed for stakeholder mapping and research communication. Through this platform, we provide access and navigation to everyone interested in this field of research and we have simultaneously created a channel for all stakeholders to co-create content. Here, we describe the design and functionalities of the platform and the participatory way it was developed as part of our stakeholder engagement. We discuss upon how such a design allows for reflection of potential biases in transdisciplinary research processes and simultaneously catalyzing self-organization in stakeholder networks.
Surprise Machines is a project of experimental museology that sets out to visualize the entire image collection of the Harvard Art Museums, with a view to opening up unexpected vistas on more than 200,000 objects usually inaccessible to visitors. The project is part of the exhibition organized by metaLAB (at) Harvard entitled Curatorial A(i)gents and explores the limits of artificial intelligence to display a large set of images and create surprise among visitors. To achieve this feeling of surprise, a choreographic interface was designed to connect the audience’s movement with several unique views of the collection.
We present findings from design research on disclosure at the intersection of data visualization, digital storytelling, and feminism. While there is an increased awareness of power structures in data science, computing, and design, there is little design research to confront these. This work explores the potential of disclosing context information of data stories, i.e., digital storytelling formats utilizing data visualizations, to enable critical-feminist readings of and reflections on these stories. Drawing from a growing body of feminist scholarship in human-computer interaction, data science, and beyond, we identify key aspects and forms of disclosure for embedding them into visual data story interfaces. We devise and validate these aspects and forms within a case study: a Web-based scrollytelling article explaining the feminist concept of intersectionality using a combination of animated illustration, data visualization, and text. With this work, we demonstrate and discuss the potentials and pitfalls of disclosure practices in data storytelling.
Today research is in the midst of a global transformation that is usually referred to as Open Science. Open Science is a response from communities to global societal developments and to the digital transformation of research processes and leads to the emergence of new practices that are embedded in a digital ecosystem. The global Medieval Studies community is slowly adapting to this new culture that raises new questions around scientific practices. This article discusses three major pillars of Open Science: Open Access, Open Data, and Open Science Communication in the Digital Age. It considers the potential of these practices for individual researchers and for the role of medieval research in a modern society and explains good practices to start with.
Creative coding is a form of postdigital art that uses programming to solve esthetical problems, subordinating functionality to expression. It often comes with rather uncommon usage patterns of coding, going beyond technologies' affordances and finding ways of appropriating them in an individual way and in exchange with others. The learning ecologies GitHub, Stack Overflow, and Pouët present digital infrastructures that curate and support such appropriation-related activities. The paper presents a qualitative analysis of the structure of these spaces, and the appropriation-related communication taking place. It shows how crucial the varying designs of the learning ecologies and the implemented interaction possibilities are for the appropriation activities taking place and draws a line to the desire for stronger participation in postdigital curation.
Curatorial activities provide (infra)structure and meaning to artworks through the selection and combination of different pieces and their public display. Therefore the way context is added shapes people’s perspective towards art. (Post-)digital art and online exhibitions come with specific constraints concerning curation and have a potential to overcome the hierarchies between curators, artists and visitors. In discussing selected digital exhibition formats from the 1990s until today, the article illustrates how the genre has evolved in response to technological changes and concepts of democratization as well as user involvement. Looking at the online exhibition “UN/NATURAL SURROGATES” (2019) the article opens up a perspective towards meta-curating that allows to conceive (online) exhibitions as a means of reflecting on curatorial processes in the postdigital era.