"Data and data visualisations – in the forms of graphs, charts and maps – are becoming an increasingly important feature of social, public and political life. Yet within existing scholarship, the democratic significance of data visualisations has thus far received minimal attention. This article
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offers a first systematic attempt to make sense of and scrutinise the role of data visualisation in democracy. We apply deliberative systems theory in the analysis of three original case studies to elucidate how data visualisation can integrate into the overall anatomy of democracy, and to normatively assess how data visualisation contributes towards key democratic ideals. Conclusively, we highlight how critical perspectives on power, ideology and epistemology problematise any simplistic account of how data visualisation matters for democracy." (Abstract)
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"Cartooning for Peace is an international network of committed press cartoonists who use humour to fight for respect for cultures and freedoms: 344 cartoonists in 78 countries [...]
Our values. Cartooning for Peace is attached to the respect for pluralism of cultures and opinions. In the events we
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organize, exhibitions, publications and international meetings, we are mindful to show the diversity of cartoonists’ perspectives on a given subject. Cartooning for Peace fights against prejudice and intellectual conformism. Towards extremism, we denounce the excesses, we mock the false certainties, counteract odium and strive to dismount impostures. Cartooning for Peace is respectful in disrespect. We do not seek to humiliate the beliefs and opinions. We circumvent interdicts with humour. Cartooning for Peace takes into account the risk that a cartoon published on the Web can appear out of context, within seconds, in every corner of the globe. Our organization is vigilant to prevent press cartoon from becoming an aggravating factor of conflicts. Cartooning for Peace offers editorial content. Convinced that cartoonists often foretell acutely before everyone, the stirrings of society which will make news tomorrow, we strive to bring forward debates that our societies are not even yet aware of.
Our actions. Cartooning for Peace allows cartoonists to interact with each other and to confront their different ideological opinions. Our network provides visibility and support for those who are unable to work freely or whose freedom is threatened. Cartooning for Peace uses the educational value of press cartoon to denounce intolerances. Our organization gives young people a voice and raises their awareness on major societal problems. Cartooning for Peace brings press cartoon closer to the public. We organize meetings between cartoonists and the public, and set up thematic exhibitions showing a critical look of society. We also publish press cartoons, in paper or digital form. Cartooning for Peace is a tool serving freedom of expression: a forum and a meeting place for all those who challenge intolerance and all forms of dogmatism." (https://www.cartooningforpeace.org/en/presentation)
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"Making a visual format accessible for people who can’t see is challenging, but there’s a huge community already invested in working out viable solutions. The tension that remains for them is in receiving a clear mandate for this work from senior leaders within organisations. Accessibility champ
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ions in the data viz community are being left to figure things out and implement solutions on their own. Limited time and resources mean that this isn’t always achievable, and the uneven experience for audiences continues. A second issue: guidelines available for organisations and data viz designers are minimal. The Web Content Accessibility Guidelines (WCAG) framework lays out the bare minimum that should be done for blind people. It doesn’t offer a pathway for making the experience of visual data equitable for blind people. This may come in the next iteration of the WCAG guidelines, but these won’t be published for a few years yet, which leaves a gaping chasm for innovation. There’s a very real opportunity for any organisation that dares to go further than compliance with WCAG and make a meaningful difference in how they present their visual data journalism." (Conclusion)
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"Through a combination of scientific and community activity, our environment is increasingly registered and documented as data. Given the expanding breadth of this digital domain, it is crucial that scholars consider the problems it presents as well as its affirmative potential. This article, arisin
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g from collaboration between a practitioner and theorist in digital design and a film and screen scholar with expertise in documentary and environmental studies, critically examines biodiversity data through an ecocritical reading of public-facing databases, citizen science platforms and data visualizations. We examine the 'Atlas of Living Australia'; 'Canberra Nature Map'; the City of Melbourne’s 'Insects'; and the experimental visualization 'Local Kin'. Integrating perspectives from screen studies, design and the environmental humanities, including multispecies studies approaches in anthropology, we examine how digital representations reflect the way biodiversity data is produced and structured. Critically analysing design choices – what is shown, and how it is shown – we argue that biodiversity data on-screen provides specific affordances: allowing, encouraging or discouraging certain insights and possibilities that condition our knowledge of and engagement with living things. An interdisciplinary approach allows us to ask new questions about how users might experience multispecies worlds in digital form, and how biodiversity data might convey the complexities of an entangled biosphere, amplifying understanding, connection and attention amongst interested publics. We examine the visual rhetorics of digital biodiversity in order to better understand how these forms operate as environmental media: designed representations of the living world." (Abstract)
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"This book details essential strategies to create more effective data visualizations. Jonathan Schwabish walks readers through the steps of creating better graphs and how to move beyond simple line, bar, and pie charts. Through more than five hundred examples, he demonstrates the do's and don'ts of
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data visualization, the principles of visual perception, and how to make subjective style decisions around a chart's design. Schwabish surveys more than eighty visualization types, from histograms to horizon charts, ridgeline plots to choropleth maps, and explains how each has its place in the visual toolkit." (Publisher description)
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"This book is a contribution to the multi-disciplined and multi-faceted conversation concerning the forms, uses and roles of data visualization in society. Do data visualizations do 'good' or 'bad'? Do they promote understanding and engagement, or do they do ideological work, privileging certain vie
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ws of the world over others? The contributions in the book engage with these core questions from a range of disciplinary perspectives." (Back cover)
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"Each chapter starts with a brief recap of the key lessons that are covered in storytelling with data. This is followed by: 'practice with Cole': exercises based on real-world examples posed for you to consider and solve, accompanied by detailed step-by-step illustration and explanation; 'practice o
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n your own': more exercises and thought-provoking questions for you to work through individually without prescribed solutions; 'practice at work': thoughtful guidance and hands-on exercises for applying the lessons learned on the job, including practical instruction on when and how to solicit useful feedback and iterate to refine your work from good to great Much of the content you’ll encounter here is inspired by our storytelling with data workshops. Because these sessions span many industries, so do the examples upon which I’ll draw. We’ll navigate between different topics—from digital marketing to pet adoption to sales training—giving you a rich and varied set of situations to learn from as you hone your data storytelling skills." (Introducion, page xii)
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"En el proyecto PLAID se realizaron cursos de capacitación en vídeo para agricultores y consultores. Las experiencias obtenidas en estos cursos constituyen la base de esta guía. En ella se dan consejos sobre cómo producir vídeos informativos utilizando medios sencillos. Esta guía sigue los tre
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s pasos de toda producción de vídeo: planificación, rodaje y edición. Está centrada en los requisitos específicos de los videos para la agricultura. Esta guía está dirigida a principiantes: agricultores, consultores, pero también investigadores en proyectos nacionales e internacionales que deseen producir vídeos de instrucción sencillos como parte de sus actividades de difusión." (Resumen)
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"This handbook provides guidelines on the practice and ethics of participatory visual methods (PVM) with emphasis on their use in low and middle income countries (LMIC) for community and public engagement in health and health science. The guidelines are drawn from the hands-on experience of the auth
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ors and the insights they have gained as PVM practitioners working with these methodologies in LMIC for 10 years or more. The handbook has been developed for use by engagement practitioners who are relatively new to the field of PVM and want to learn more about what they are and how to work with them. It also aims to support health science researchers who wish to include visual methods when engaging local communities and wider publics in their work. The handbook does not explore the theory behind PVM or provide an in-depth review of the literature. For each method that is described the pioneering work in the field is cited, along with other suggested reading, should you wish to learn more." (Foreword)
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"This study engages in a comparative analysis of the history, importance, and benefits of infographics, in general, and in the media, in particular in Nigeria. It looks at the history of the Nigerian press, as well as the scale of use of infographics and new media tools in communicating business sto
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ries in the country by its journalists. It also measures the level of approval of this new trend in the Nigerian journalism space." (Abstract, page 4)
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"La primera edición de 'Para hacer historietas' es de 1978 y nació de la experiencia de los talleres que Juan Acevedo impartió en el entonces naciente Villa El Salvador. El libro alcanzó repercusión internacional gracias a sus ediciones españolas, alemanas y brasileñas. Agotado hace más de 2
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0 años, se publica ahora en su octava edición, nuevamente en el Perú; no obstante haber sido revisado y ampliado por su autor, conserva el espíritu original cuyo método y propósito es democratizar el lenguaje de la historieta." (Publisher description)
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"This Is Not an Atlas gathers more than 40 counter-cartographies from all over the world. This collection shows how maps are created and transformed as a part of political struggle, for critical research or in art and education: from indigenous territories in the Amazon to the anti-eviction movement
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in San Francisco; from defending commons in Mexico to mapping refugee camps with balloons in Lebanon; from slums in Nairobi to squats in Berlin; from supporting communities in the Philippines to reporting sexual harassment in Cairo. This Is Not an Atlas seeks to inspire, to document the underrepresented, and to be a useful companion when becoming a counter-cartographer yourself." (Publisher description)
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"Visualizing thought processes can help break down complex problems. It empowers teams and staff to build on one another's ideas, fosters collaboration, jump-starts co-creation and boosts innovation. This book will help brush aside misconceptions that may have prevented you using these techniques in
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your workplace. You don't need Van Gogh's artistic talent or Einstein's intelligence to harness the power of visual thinking and make your company more successful. With the right mindset and the simple skills this book provides you the skills to develop your own signature and style and start generating change by integrating visual communication into your business setting." (Back cover)
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"Debates about the visual representations of global poverty have been going on for many years, yet the experiences and views of those featured have been notably absent. 'The People in the Pictures' addresses that gap. Save the Children commissioned research in the UK, Jordan, Bangladesh and Niger, t
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o listen to and learn from those who contribute their images and stories, as well as members of their communities. The research explored: what motivated people to agree to Save the Children filming or photographing them or their children; how people experienced and perceived the image-making process; how people felt about their portrayal in the resulting Save the Children communications. The research highlighted many areas of good practice, as well as some concerns and challenges. It has resulted in a set of recommendations to embed greater agency and accountability for contributors into Save the Children’s image making." (Back cover)
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"This book is the perfect guide to aspiring storytellers as it illustrates the different manner of how and why stories are told, and how to make them "interactive." Storytelling features heavy game development as a method of storytelling and delivery, and how to develop compelling plots, characters,
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settings, and actions inside a game. The concept of digital storytelling will be explored, and how this differs from previous incarnations of mediums for stories." (Publisher description)
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"PhotoVoice: A creative and effective tool for purposes such as monitoring, participatory research, data collection and capacity building. This guide has been developed to help you prepare, organise and facilitate a PhotoVoice training course in low, middle and high-income countries." (Back cover)