@article{klein_what_2022,
	title = {What {Data} {Visualization} {Reveals}: {Elizabeth} {Palmer} {Peabody} and the {Work} of {Knowledge} {Production}},
	volume = {4},
	shorttitle = {What {Data} {Visualization} {Reveals}},
	url = {https://hdsr.mitpress.mit.edu/pub/oraonikr/release/1},
	doi = {10.1162/99608f92.5dec149c},
	abstract = {This essay offers the chronological charts of Elizabeth Palmer Peabody (1804–1894), the 19th-century educator and intellectual, as early examples of how data visualization can reveal a range of forms of knowledge. It challenges the universality of the goals of clarity and efficiency when designing data visualizations, and argues for the value of visualizations that encourage sustained reflection and imaginative response. Drawing from feminist and Black studies scholarship, it confirms how visual knowledge is informed by the social, cultural, and political contexts that surround it, and how an awareness of those contexts can lead to more intentional and more effective visualization design. It concludes with a call to expand the archive of data visualization so that visualization designers, in the present, might be prompted to imagine a wider and more capacious array of visual and interactive forms.},
	language = {en},
	number = {2},
	urldate = {2022-05-03},
	journal = {Harvard Data Science Review},
	author = {Klein, Lauren},
	month = apr,
	year = {2022},
}

This essay offers the chronological charts of Elizabeth Palmer Peabody (1804–1894), the 19th-century educator and intellectual, as early examples of how data visualization can reveal a range of forms of knowledge. It challenges the universality of the goals of clarity and efficiency when designing data visualizations, and argues for the value of visualizations that encourage sustained reflection and imaginative response. Drawing from feminist and Black studies scholarship, it confirms how visual knowledge is informed by the social, cultural, and political contexts that surround it, and how an awareness of those contexts can lead to more intentional and more effective visualization design. It concludes with a call to expand the archive of data visualization so that visualization designers, in the present, might be prompted to imagine a wider and more capacious array of visual and interactive forms.

@article{bruggemann_zwischen_2020,
	series = {Deutsches {Museum} {Studies}},
	title = {Zwischen {Distanz} und {Nähe}: {Formen} der {Betrachtung} und {Bewegung} in (digitalen) {Sammlungen}},
	volume = {7},
	issn = {2365-9149},
	url = {https://www.deutsches-museum.de/assets/Verlag/Download/Studies/studies-7-download.pdf},
	abstract = {Digitale Sammlungen besitzen den Anspruch, die Sammlung in ihrer Gesamtheit zu veröffentlichen; sie entstammen ursprünglich intern erstellten und genutzten Datensätzen aus einem abgeschlossenen Sammlungsfundus; sie zeigen die Objekte nicht im Ausstellungsraum, sondern als einzelne Digitalisate; und sie ermöglichen eine Vielfalt an Zugängen. Trotz der zunehmenden Komplexität und Reichhaltigkeit der musealen digitalen Angebote und der damit anwachsenden Datensätze ist der Zugang zu diesen Sammlungsinterfaces noch oft auf Such- oder Filtermöglichkeiten und eine Anzeige über KachelBildergalerien beschränkt. Ausgehend davon, dass jede Repräsentation von Daten immer nur eine eingeschränkte Annäherung an eine objektive Wirklichkeit darstellen kann, ist die besondere Beleuchtung von Datensätzen unter unterschiedlichen Aspekten erstrebenswert. Neben gezielter Fokussierung auf einzelne Datendimensionen, halten wir in Bezug auf digitale Sammlungen kultureller Artefakte speziell den Wechsel zwischen unterschiedlichen Stufen von Distanz und Nähe für besonders ergiebig. Distanz und Nähe haben in Bezug auf Sammlungsvisualisierungen jeweils gänzlich unterschiedliche Qualitäten, welche die wissenschaftliche Exploration und das kulturelle Erleben der Sammlung bereichern können und beschreiben nicht nur besondere Arten der Betrachtung kultureller Bestände, sondern ebenso verschiedene Modi der Bewegung durch die digitale Sammlung, zwischen den Objekten und entlang ihrer Arrangements. Zwischen Distanz und Nähe liegen somit nicht nur verschiedene Granularitäten, sondern ebenso eine Vielfalt an Ansichten, die jeweils besondere Formen der Analyse und Erkenntnisgewinnung anregen.},
	language = {de},
	urldate = {2021-07-13},
	journal = {Das digitale Objekt – Zwischen Depot und Internet},
	author = {Brüggemann, Viktoria and Bludau, Mark-Jan and Dörk, Marian},
	editor = {Geipel, Andrea and Sauter, Johannes and Hohmann, Georg},
	year = {2020},
	pages = {115--123},
}

Digitale Sammlungen besitzen den Anspruch, die Sammlung in ihrer Gesamtheit zu veröffentlichen; sie entstammen ursprünglich intern erstellten und genutzten Datensätzen aus einem abgeschlossenen Sammlungsfundus; sie zeigen die Objekte nicht im Ausstellungsraum, sondern als einzelne Digitalisate; und sie ermöglichen eine Vielfalt an Zugängen. Trotz der zunehmenden Komplexität und Reichhaltigkeit der musealen digitalen Angebote und der damit anwachsenden Datensätze ist der Zugang zu diesen Sammlungsinterfaces noch oft auf Such- oder Filtermöglichkeiten und eine Anzeige über KachelBildergalerien beschränkt. Ausgehend davon, dass jede Repräsentation von Daten immer nur eine eingeschränkte Annäherung an eine objektive Wirklichkeit darstellen kann, ist die besondere Beleuchtung von Datensätzen unter unterschiedlichen Aspekten erstrebenswert. Neben gezielter Fokussierung auf einzelne Datendimensionen, halten wir in Bezug auf digitale Sammlungen kultureller Artefakte speziell den Wechsel zwischen unterschiedlichen Stufen von Distanz und Nähe für besonders ergiebig. Distanz und Nähe haben in Bezug auf Sammlungsvisualisierungen jeweils gänzlich unterschiedliche Qualitäten, welche die wissenschaftliche Exploration und das kulturelle Erleben der Sammlung bereichern können und beschreiben nicht nur besondere Arten der Betrachtung kultureller Bestände, sondern ebenso verschiedene Modi der Bewegung durch die digitale Sammlung, zwischen den Objekten und entlang ihrer Arrangements. Zwischen Distanz und Nähe liegen somit nicht nur verschiedene Granularitäten, sondern ebenso eine Vielfalt an Ansichten, die jeweils besondere Formen der Analyse und Erkenntnisgewinnung anregen.

@article{maceli_usability_2020,
	title = {Usability {Evaluation} of an {Open}-{Source} {Environmental} {Monitoring} {Data} {Dashboard} for {Archivists}},
	volume = {20},
	issn = {1389-0166, 1573-7519},
	url = {http://link.springer.com/10.1007/s10502-020-09340-1},
	doi = {10.1007/s10502-020-09340-1},
	abstract = {Cultural heritage archives engage in monitoring of environmental condition data, typically by employing “datalogger” devices and rudimentary data dashboard interfaces, to ensure collection preservation and avoid damaging environmental conditions, such as high temperature or humidity. Data dashboard interfaces are a popular means of efficiently monitoring complex, high-volume, and real-time data. While open-source software, in which the code may be modified as needed by individuals and/or communities, is widely used in the archives domain for collection management, the commercial environmental monitoring systems tend to be closed source and inflexible in use. The authors’ prior user-centered research with archivist practitioners has indicated many issues with the current commercial environmental monitoring systems and noted the potential for more flexible, open, and modern technology solutions. This research study explores the design and evaluation, through usability testing and heuristic evaluation, of an open-source data dashboard interface for archivists, with an emphasis on understanding the ability of current open-source tools in this realm to support archivists’ interface needs. Though the data dashboard interface was generally efficient and easy to use for archivists, there were several problems identified that require further development and evaluation, some of which may be more technically challenging than reasonable to expect from archivists. Several suggestions for the future directions this work may take are presented, which includes integration into existing popular open-sources systems currently developed by archivists.},
	language = {en},
	number = {4},
	urldate = {2020-12-16},
	journal = {Archival Science},
	author = {Maceli, Monica G. and Yu, Kerry},
	year = {2020},
	pages = {347--360},
}

Cultural heritage archives engage in monitoring of environmental condition data, typically by employing “datalogger” devices and rudimentary data dashboard interfaces, to ensure collection preservation and avoid damaging environmental conditions, such as high temperature or humidity. Data dashboard interfaces are a popular means of efficiently monitoring complex, high-volume, and real-time data. While open-source software, in which the code may be modified as needed by individuals and/or communities, is widely used in the archives domain for collection management, the commercial environmental monitoring systems tend to be closed source and inflexible in use. The authors’ prior user-centered research with archivist practitioners has indicated many issues with the current commercial environmental monitoring systems and noted the potential for more flexible, open, and modern technology solutions. This research study explores the design and evaluation, through usability testing and heuristic evaluation, of an open-source data dashboard interface for archivists, with an emphasis on understanding the ability of current open-source tools in this realm to support archivists’ interface needs. Though the data dashboard interface was generally efficient and easy to use for archivists, there were several problems identified that require further development and evaluation, some of which may be more technically challenging than reasonable to expect from archivists. Several suggestions for the future directions this work may take are presented, which includes integration into existing popular open-sources systems currently developed by archivists.

@book{drucker_visualization_2020,
	address = {Cambridge, Massachusetts},
	title = {Visualization and {Interpretation}: {Humanistic} {Approaches} to {Display}},
	isbn = {978-0-262-04473-8},
	shorttitle = {Visualization and {Interpretation}},
	abstract = {An analysis of visual epistemology in the digital humanities, with attention to the need for interpretive digital tools within humanities contexts.In the several decades since humanists have taken up computational tools, they have borrowed many techniques from other fields, including visualization methods to create charts, graphs, diagrams, maps, and other graphic displays of information. But are these visualizations actually adequate for the interpretive approach that distinguishes much of the work in the humanities? Information visualization, as practiced today, lacks the interpretive frameworks required for humanities-oriented methodologies. In this book, Johanna Drucker continues her interrogation of visual epistemology in the digital humanities, reorienting the creation of digital tools within humanities contexts. Drucker examines various theoretical understandings of visual images and their relation to knowledge and how the specifics of the graphical are to be engaged directly as a primary means of knowledge production for digital humanities. She draws on work from aesthetics, critical theory, and formal study of graphical systems, addressing them within the specific framework of computational and digital activity as they apply to digital humanities. Finally, she presents a series of standard problems in visualization for the humanities (including time/temporality, space/spatial relations, and data analysis), posing the investigation in terms of innovative graphical systems informed by probabilistic critical hermeneutics. She concludes with a final brief sketch of discovery tools as an additional interface into which modeling can be worked.},
	language = {Englisch},
	publisher = {The MIT Press},
	author = {Drucker, Johanna},
	year = {2020},
}

An analysis of visual epistemology in the digital humanities, with attention to the need for interpretive digital tools within humanities contexts.In the several decades since humanists have taken up computational tools, they have borrowed many techniques from other fields, including visualization methods to create charts, graphs, diagrams, maps, and other graphic displays of information. But are these visualizations actually adequate for the interpretive approach that distinguishes much of the work in the humanities? Information visualization, as practiced today, lacks the interpretive frameworks required for humanities-oriented methodologies. In this book, Johanna Drucker continues her interrogation of visual epistemology in the digital humanities, reorienting the creation of digital tools within humanities contexts. Drucker examines various theoretical understandings of visual images and their relation to knowledge and how the specifics of the graphical are to be engaged directly as a primary means of knowledge production for digital humanities. She draws on work from aesthetics, critical theory, and formal study of graphical systems, addressing them within the specific framework of computational and digital activity as they apply to digital humanities. Finally, she presents a series of standard problems in visualization for the humanities (including time/temporality, space/spatial relations, and data analysis), posing the investigation in terms of innovative graphical systems informed by probabilistic critical hermeneutics. She concludes with a final brief sketch of discovery tools as an additional interface into which modeling can be worked.

@incollection{mayr_vor_2020,
	address = {Bielefeld},
	series = {Digitale {Gesellschaft}},
	title = {Vor welchem {Hintergrund} und mit {Bezug} auf was? {Zur} polykontextualen {Visualisierung} kultureller {Sammlungen}},
	isbn = {978-3-8376-5571-1},
	url = {https://www.transcript-verlag.de/media/pdf/2b/c5/9e/oa97838394557157NBBTgznCZyNg.pdf},
	language = {de},
	number = {33},
	urldate = {2021-07-13},
	booktitle = {Objekte im {Netz}. {Wissenschaftliche} {Sammlungen} im digitalen {Wandel}},
	publisher = {transcript Verlag},
	author = {Mayr, Eva and Windhager, Florian},
	editor = {Andraschke, Udo and Wagner, Sarah},
	year = {2020},
	doi = {10.14361/9783839455715},
	pages = {235--245},
}

@incollection{reiter_interactive_2020,
	title = {Interactive {Visualization} for {Reflected} {Text} {Analytics}},
	isbn = {978-3-11-069397-3},
	url = {https://www.degruyter.com/document/doi/10.1515/9783110693973-012/html},
	urldate = {2021-06-08},
	booktitle = {Reflektierte algorithmische {Textanalyse}},
	publisher = {De Gruyter},
	author = {Baumann, Martin and Koch, Steffen and John, Markus and Ertl, Thomas},
	editor = {Reiter, Nils and Pichler, Axel and Kuhn, Jonas},
	month = jul,
	year = {2020},
	doi = {10.1515/9783110693973-012},
	pages = {269--296},
}

@article{franke_modern_2020,
	title = {Modern {Scientific} {Visualizations} on the {Web}},
	volume = {7},
	issn = {2227-9709},
	url = {https://www.mdpi.com/2227-9709/7/4/37},
	doi = {10.3390/informatics7040037},
	abstract = {Modern scientific visualization is web-based and uses emerging technology such as WebGL (Web Graphics Library) and WebGPU for three-dimensional computer graphics and WebXR for augmented and virtual reality devices. These technologies, paired with the accessibility of websites, potentially offer a user experience beyond traditional standalone visualization systems. We review the state-of-the-art of web-based scientific visualization and present an overview of existing methods categorized by application domain. As part of this analysis, we introduce the Scientific Visualization Future Readiness Score (SciVis FRS) to rank visualizations for a technology-driven disruptive tomorrow. We then summarize challenges, current state of the publication trend, future directions, and opportunities for this exciting research field.},
	language = {en},
	number = {4},
	urldate = {2021-06-08},
	journal = {Informatics},
	author = {Franke, Loraine and Haehn, Daniel},
	month = sep,
	year = {2020},
	pages = {37},
}

Modern scientific visualization is web-based and uses emerging technology such as WebGL (Web Graphics Library) and WebGPU for three-dimensional computer graphics and WebXR for augmented and virtual reality devices. These technologies, paired with the accessibility of websites, potentially offer a user experience beyond traditional standalone visualization systems. We review the state-of-the-art of web-based scientific visualization and present an overview of existing methods categorized by application domain. As part of this analysis, we introduce the Scientific Visualization Future Readiness Score (SciVis FRS) to rank visualizations for a technology-driven disruptive tomorrow. We then summarize challenges, current state of the publication trend, future directions, and opportunities for this exciting research field.

@article{barman_combining_2020,
	title = {Combining {Visual} and {Textual} {Features} for {Semantic} {Segmentation} of {Historical} {Newspapers}},
	url = {http://arxiv.org/abs/2002.06144},
	abstract = {The massive amounts of digitized historical documents acquired over the last decades naturally lend themselves to automatic processing and exploration. Research work seeking to automatically process facsimiles and extract information thereby are multiplying with, as a first essential step, document layout analysis. If the identification and categorization of segments of interest in document images have seen significant progress over the last years thanks to deep learning techniques, many challenges remain with, among others, the use of finer-grained segmentation typologies and the consideration of complex, heterogeneous documents such as historical newspapers. Besides, most approaches consider visual features only, ignoring textual signal. In this context, we introduce a multimodal approach for the semantic segmentation of historical newspapers that combines visual and textual features. Based on a series of experiments on diachronic Swiss and Luxembourgish newspapers, we investigate, among others, the predictive power of visual and textual features and their capacity to generalize across time and sources. Results show consistent improvement of multimodal models in comparison to a strong visual baseline, as well as better robustness to high material variance.},
	urldate = {2021-06-08},
	journal = {arXiv:2002.06144 [cs]},
	author = {Barman, Raphaël and Ehrmann, Maud and Clematide, Simon and Oliveira, Sofia Ares and Kaplan, Frédéric},
	month = dec,
	year = {2020},
	note = {arXiv: 2002.06144},
	keywords = {Computer Science - Computation and Language, Computer Science - Computer Vision and Pattern Recognition, Computer Science - Information Retrieval, Computer Science - Machine Learning},
}

The massive amounts of digitized historical documents acquired over the last decades naturally lend themselves to automatic processing and exploration. Research work seeking to automatically process facsimiles and extract information thereby are multiplying with, as a first essential step, document layout analysis. If the identification and categorization of segments of interest in document images have seen significant progress over the last years thanks to deep learning techniques, many challenges remain with, among others, the use of finer-grained segmentation typologies and the consideration of complex, heterogeneous documents such as historical newspapers. Besides, most approaches consider visual features only, ignoring textual signal. In this context, we introduce a multimodal approach for the semantic segmentation of historical newspapers that combines visual and textual features. Based on a series of experiments on diachronic Swiss and Luxembourgish newspapers, we investigate, among others, the predictive power of visual and textual features and their capacity to generalize across time and sources. Results show consistent improvement of multimodal models in comparison to a strong visual baseline, as well as better robustness to high material variance.

@article{crockett_ivpy_2019,
	title = {ivpy: {Iconographic} {Visualization} {Inside} {Computational} {Notebooks}},
	copyright = {Copyright (c) 2019},
	issn = {2363-5401},
	shorttitle = {ivpy},
	url = {https://journals.ub.uni-heidelberg.de/index.php/dah/article/view/66401},
	doi = {10.11588/dah.2019.4.66401},
	abstract = {Iconographic Visualization in Python, or ivpy, is a software module, written in the Python programming language, that provides a set of functions for organizing iconographic representations of data, including images and glyphs. The module also provides methods for extracting visual features from images; generating and hand-tuning clusters of data points; and embedding high-dimensional data in 2D coordinate spaces. It is designed for use inside computational notebooks, so that users working with data needn't leave the notebook environment in order to generate visualizations. The software is designed primarily for those researchers working with large image datasets in fields where human visual expertise cannot be replaced with or superseded by machine vision, such as art history and media studies.},
	language = {en},
	number = {4},
	urldate = {2021-08-17},
	journal = {International Journal for Digital Art History},
	author = {Crockett, Damon},
	year = {2019},
	note = {Number: 4},
	keywords = {art history},
	pages = {3.60--3.79},
}

Iconographic Visualization in Python, or ivpy, is a software module, written in the Python programming language, that provides a set of functions for organizing iconographic representations of data, including images and glyphs. The module also provides methods for extracting visual features from images; generating and hand-tuning clusters of data points; and embedding high-dimensional data in 2D coordinate spaces. It is designed for use inside computational notebooks, so that users working with data needn't leave the notebook environment in order to generate visualizations. The software is designed primarily for those researchers working with large image datasets in fields where human visual expertise cannot be replaced with or superseded by machine vision, such as art history and media studies.

@inproceedings{heidmann_relational_2019,
	address = {Utrecht},
	title = {Relational {Perspectives} as {Situated} {Visualizations} of {Art} {Collections}},
	url = {https://dev.clariah.nl/files/dh2019/boa/0208.html},
	language = {en},
	urldate = {2020-12-29},
	author = {Heidmann, Frank and Bludau, Mark-Jan and Dörk, Marian},
	year = {2019},
}

@article{ifla_trend_report_neue_2019,
	title = {Neue {Technologien} erweitern den {Informationszugang} und schränken ihn gleichzeitig ein},
	copyright = {Copyright ©2020 arbido.},
	url = {https://arbido.ch/de/ausgaben-artikel/2019/zugang-acc%C3%A8s/neue-technologien-erweitern-den-informationszugang-und-schr%C3%A4nken-ihn-gleichzeitig-ein},
	abstract = {arbido, die Fachzeitschrift für alle, die in Archiven, Bibliotheken, Dokumentationsstellen und Museen arbeiten, diese besuchen, benutzen oder unterstützen.},
	language = {de},
	number = {3},
	urldate = {2020-12-29},
	journal = {Arbido},
	author = {IFLA Trend Report},
	year = {2019},
	note = {Archive Location: https://arbido.ch/de/
Publisher: arbido},
}

arbido, die Fachzeitschrift für alle, die in Archiven, Bibliotheken, Dokumentationsstellen und Museen arbeiten, diese besuchen, benutzen oder unterstützen.

@phdthesis{vane_timeline_2019,
	address = {London},
	type = {{PhD} {Thesis}},
	title = {Timeline {Design} for {Visualising} {Cultural} {Heritage} {Data}},
	url = {https://researchonline.rca.ac.uk/4325/},
	abstract = {This thesis is concerned with the design of data visualisations of digitised museum, archive and library collections, in timelines. As cultural institutions digitise their collections–converting texts, objects, and artworks to electronic records–the volume of cultural data available grows. There is a growing perception, though, that we need to get more out of this data. Merely digitising does not automatically make collections accessible, discoverable and comprehensible, and standard interfaces do not necessarily support the types of interactions users wish to make. Data visualisations–this thesis focuses on interactive visual representations of data created with software–allow us to see an overview of, observe patterns in, and showcase the richness of, digitised collections. Visualisation can support analysis, exploration and presentation of collections for different audiences: research, collection administration, and the general public. The focus here is on visualising cultural data by time: a fundamental dimension for making sense of historical data, but also one with unique strangeness. Through cataloguing, cultural institutions define the meaning and value of items in their collections and the structure within which to make sense of them. By visualising threads in cataloguing data through time, can historical narratives be made visible? And is the data alone enough to tell the stories that people wish to tell? The intended audience for this research is cultural heritage institutions. This work sits at the crossroads between design, cultural heritage (particularly museology), and computing–drawing on the fields of digital humanities, information visualisation and human computer-interaction which also live in these overlapping spaces. This PhD adds clarity around the question of what cultural visualisation is (and can be) for, and highlights issues in the visualisation of qualitative or nominal data. The first chapter lays out the background, characterising cultural data and its visualisation. Chapter two walks through examples of existing cultural timeline visualisations, from the most handcrafted displays to automated approaches. At this point, the research agenda and methodology are set out. The next five chapters document a portfolio of visualisation projects, designing and building novel prototype timeline visualisations with data from the Wellcome Library and Victoria \& Albert Museum, London, Cooper Hewitt Smithsonian Design Museum, New York City, and the Nordic Museum, Stockholm. In the process, a range of issues are identified for further discussion. The final chapters reflect on these projects, arguing that automated timeline visualisation can be a productive way to explore and present historical narratives in collection data, but a range of factors govern what is possible and useful. Trust in cultural data visualisation is also discussed. This research argues that visualising cultural data can add value to the data both for users and for data-holding institutions. However, that value is likely to be best achieved by customising a visualisation design to the dataset, audience and use case. Keywords: cultural heritage data; historical data; cultural analytics; cultural informatics; humanities visualisation; generous interfaces; digital humanities; design; information design; interface design; data visualisation; information visualisation; time; timeline; history; historiography; museums; museology; archives; chronographics.},
	language = {en},
	urldate = {2021-07-13},
	school = {Royal College of Art},
	author = {Vane, Olivia},
	year = {2019},
	note = {Publisher: Royal College of Art},
	keywords = {Datenvisualisierung, Zeitstrahl},
}

This thesis is concerned with the design of data visualisations of digitised museum, archive and library collections, in timelines. As cultural institutions digitise their collections–converting texts, objects, and artworks to electronic records–the volume of cultural data available grows. There is a growing perception, though, that we need to get more out of this data. Merely digitising does not automatically make collections accessible, discoverable and comprehensible, and standard interfaces do not necessarily support the types of interactions users wish to make. Data visualisations–this thesis focuses on interactive visual representations of data created with software–allow us to see an overview of, observe patterns in, and showcase the richness of, digitised collections. Visualisation can support analysis, exploration and presentation of collections for different audiences: research, collection administration, and the general public. The focus here is on visualising cultural data by time: a fundamental dimension for making sense of historical data, but also one with unique strangeness. Through cataloguing, cultural institutions define the meaning and value of items in their collections and the structure within which to make sense of them. By visualising threads in cataloguing data through time, can historical narratives be made visible? And is the data alone enough to tell the stories that people wish to tell? The intended audience for this research is cultural heritage institutions. This work sits at the crossroads between design, cultural heritage (particularly museology), and computing–drawing on the fields of digital humanities, information visualisation and human computer-interaction which also live in these overlapping spaces. This PhD adds clarity around the question of what cultural visualisation is (and can be) for, and highlights issues in the visualisation of qualitative or nominal data. The first chapter lays out the background, characterising cultural data and its visualisation. Chapter two walks through examples of existing cultural timeline visualisations, from the most handcrafted displays to automated approaches. At this point, the research agenda and methodology are set out. The next five chapters document a portfolio of visualisation projects, designing and building novel prototype timeline visualisations with data from the Wellcome Library and Victoria & Albert Museum, London, Cooper Hewitt Smithsonian Design Museum, New York City, and the Nordic Museum, Stockholm. In the process, a range of issues are identified for further discussion. The final chapters reflect on these projects, arguing that automated timeline visualisation can be a productive way to explore and present historical narratives in collection data, but a range of factors govern what is possible and useful. Trust in cultural data visualisation is also discussed. This research argues that visualising cultural data can add value to the data both for users and for data-holding institutions. However, that value is likely to be best achieved by customising a visualisation design to the dataset, audience and use case. Keywords: cultural heritage data; historical data; cultural analytics; cultural informatics; humanities visualisation; generous interfaces; digital humanities; design; information design; interface design; data visualisation; information visualisation; time; timeline; history; historiography; museums; museology; archives; chronographics.

@inproceedings{burrell_glossopticon_2019,
	address = {Adelaide, Australia},
	title = {Glossopticon: {Visualising} {Archival} {Data}},
	isbn = {978-1-72812-850-4},
	shorttitle = {Glossopticon},
	url = {https://ieeexplore.ieee.org/document/8811997/},
	doi = {10.1109/IV-2.2019.00029},
	abstract = {Glossopticon is a Virtual Reality (VR)-based information visualisation system that presents heritage audio recordings in the archival linguistic data of the Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) collection. This paper will outline the project, the way it has used VR to visualise information and how it has been used on multiple levels-from public exhibition piece, to research tool-and in doing so provides an exemplar of the notion of the collaborative, interdisciplinary project as a basic unit of scholarly investigation within the digital humanities.},
	language = {en},
	urldate = {2021-01-08},
	booktitle = {2019 23rd {International} {Conference} in {Information} {Visualization} – {Part} {II}},
	publisher = {IEEE},
	author = {Burrell, Andrew and Hendery, Rachel and Thieberger, Nick},
	year = {2019},
	pages = {100--103},
}

Glossopticon is a Virtual Reality (VR)-based information visualisation system that presents heritage audio recordings in the archival linguistic data of the Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) collection. This paper will outline the project, the way it has used VR to visualise information and how it has been used on multiple levels-from public exhibition piece, to research tool-and in doing so provides an exemplar of the notion of the collaborative, interdisciplinary project as a basic unit of scholarly investigation within the digital humanities.

@article{schwan_narrelations_2019,
	title = {Narrelations – {Visualizing} {Narrative} {Levels} and their {Correlations} with {Temporal} {Phenomena}},
	volume = {13},
	url = {http://www.digitalhumanities.org/dhq/vol/13/3/000414/000414.html},
	abstract = {We present findings from interdisciplinary research at the intersection between literary studies, information visualization, and interface design. Despite a growing interest in text visualization among literary scholars, so far, narrative visualizations are not designed to support the particular tasks involved in narratological analysis and often fail to reveal nuanced narratological features. One major outcome of our iterative research and design process is Narrelations, a novel visualization technique specifically suited for analyzing and interpreting narrative levels of a story and temporal aspects of its narrative representation. The visualization provides an overview of the nesting and distribution of narrative levels, integrates the representation of temporal phenomena, and facilitates the examination of correlations between these aspects. With this research we explore how collaboratively designed visual encodings and interaction techniques may allow for an insightful analysis at a high level coupled with a close inspection of text passages. We discuss prior work relevant to our research objectives and explain the specific characteristics of narrative levels and temporal aspects of narrative representation. After describing the research process and design principles, we apply the visualization on a test corpus of eight annotated German short stories and demonstrate its heuristic value for literary analyses and interpretations. In particular, we explore the intricate connections between the literary content of the novellas and their narrative form.},
	language = {en},
	number = {3},
	urldate = {2021-01-15},
	journal = {Digital Humanities Quarterly},
	author = {Schwan, Hannah and Jacke, Janina and Kleymann, Rabea and Stange, Jan-Erik and Dörk, Marian},
	year = {2019},
}

We present findings from interdisciplinary research at the intersection between literary studies, information visualization, and interface design. Despite a growing interest in text visualization among literary scholars, so far, narrative visualizations are not designed to support the particular tasks involved in narratological analysis and often fail to reveal nuanced narratological features. One major outcome of our iterative research and design process is Narrelations, a novel visualization technique specifically suited for analyzing and interpreting narrative levels of a story and temporal aspects of its narrative representation. The visualization provides an overview of the nesting and distribution of narrative levels, integrates the representation of temporal phenomena, and facilitates the examination of correlations between these aspects. With this research we explore how collaboratively designed visual encodings and interaction techniques may allow for an insightful analysis at a high level coupled with a close inspection of text passages. We discuss prior work relevant to our research objectives and explain the specific characteristics of narrative levels and temporal aspects of narrative representation. After describing the research process and design principles, we apply the visualization on a test corpus of eight annotated German short stories and demonstrate its heuristic value for literary analyses and interpretations. In particular, we explore the intricate connections between the literary content of the novellas and their narrative form.

@article{fornaro_zugang_2019,
	title = {Zugang zum digitalen {Archiv}},
	url = {https://arbido.ch/de/ausgaben-artikel/2019/zugang-acc%C3%A8s/zugang-zum-digitalen-archiv},
	abstract = {Die wachsende Menge an digitalem Archivgut und die damit verbundenen Kosten zur Speicherung wecken zunehmend den Wunsch nach Funktion und Anwendbarkeit der digitalen Daten. Open Access und Interoperabilität sind in diesem Zusammenhang von Wichtigkeit. Ein Blick auf die Qualität der digitalen Daten ist um so wichtiger.},
	language = {de},
	number = {3},
	urldate = {2021-07-13},
	journal = {Arbido},
	author = {Fornaro, Peter},
	year = {2019},
}

Die wachsende Menge an digitalem Archivgut und die damit verbundenen Kosten zur Speicherung wecken zunehmend den Wunsch nach Funktion und Anwendbarkeit der digitalen Daten. Open Access und Interoperabilität sind in diesem Zusammenhang von Wichtigkeit. Ein Blick auf die Qualität der digitalen Daten ist um so wichtiger.

@article{arnold_distant_2019,
	title = {Distant viewing: analyzing large visual corpora},
	volume = {34},
	issn = {2055-7671, 2055-768X},
	shorttitle = {Distant viewing},
	url = {https://academic.oup.com/dsh/article/34/Supplement_1/i3/5694340},
	doi = {10.1093/llc/fqz013},
	abstract = {Abstract
            In this article we establish a methodological and theoretical framework for the study of large collections of visual materials. Our framework, distant viewing, is distinguished from other approaches by making explicit the interpretive nature of extracting semantic metadata from images. In other words, one must ‘view’ visual materials before studying them. We illustrate the need for the interpretive process of viewing by simultaneously drawing on theories of visual semiotics, photography, and computer vision. Two illustrative applications of the distant viewing framework to our own research are draw upon to explicate the potential and breadth of the approach. A study of television series shows how facial detection is used to compare the role of actors within the narrative arcs across two competing series. An analysis of the Farm Security Administration–Office of War Information corpus of documentary photography is used to establish how photographic style compared and differed amongst those photographers involved with the collection. We then aim to show how our framework engages with current methodological and theoretical conversations occurring within the digital humanities.},
	language = {en},
	number = {Supplement\_1},
	urldate = {2021-03-11},
	journal = {Digital Scholarship in the Humanities},
	author = {Arnold, Taylor and Tilton, Lauren},
	month = dec,
	year = {2019},
	pages = {i3--i16},
}

Abstract In this article we establish a methodological and theoretical framework for the study of large collections of visual materials. Our framework, distant viewing, is distinguished from other approaches by making explicit the interpretive nature of extracting semantic metadata from images. In other words, one must ‘view’ visual materials before studying them. We illustrate the need for the interpretive process of viewing by simultaneously drawing on theories of visual semiotics, photography, and computer vision. Two illustrative applications of the distant viewing framework to our own research are draw upon to explicate the potential and breadth of the approach. A study of television series shows how facial detection is used to compare the role of actors within the narrative arcs across two competing series. An analysis of the Farm Security Administration–Office of War Information corpus of documentary photography is used to establish how photographic style compared and differed amongst those photographers involved with the collection. We then aim to show how our framework engages with current methodological and theoretical conversations occurring within the digital humanities.

@article{windhager_visualization_2019,
	title = {Visualization of {Cultural} {Heritage} {Collection} {Data}: {State} of the {Art} and {Future} {Challenges}},
	volume = {25},
	issn = {1077-2626, 1941-0506, 2160-9306},
	shorttitle = {Visualization of {Cultural} {Heritage} {Collection} {Data}},
	url = {10.1109/TVCG.2018.2830759},
	doi = {10.1109/TVCG.2018.2830759},
	abstract = {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.},
	language = {en},
	number = {6},
	urldate = {2020-12-17},
	journal = {IEEE Transactions on Visualization and Computer Graphics},
	author = {Windhager, Florian and Federico, Paolo and Schreder, Günther and Glinka, Katrin and Dörk, Marian and Miksch, Silvia and Mayr, Eva},
	year = {2019},
	pages = {2311--2330},
}

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.

@article{munster_visual_2019,
	title = {The visual side of digital humanities: a survey on topics, researchers, and epistemic cultures},
	issn = {2055-7671, 2055-768X},
	shorttitle = {The visual side of digital humanities},
	url = {https://academic.oup.com/dsh/advance-article/doi/10.1093/llc/fqz022/5485806},
	doi = {10.1093/llc/fqz022},
	language = {en},
	urldate = {2020-01-02},
	journal = {Digital Scholarship in the Humanities},
	author = {Münster, Sander and Terras, Melissa},
	month = may,
	year = {2019},
	pages = {fqz022},
}

@inproceedings{lechelt_how_2019,
	title = {How can we balance research, participation and innovation as {HCI} researchers?},
	url = {https://www.research.ed.ac.uk/portal/en/publications/how-can-we-balance-research-participation-and-innovation-as-hci-researchers(df4764f5-ec49-4993-bc61-66c27f9ba87a).html},
	doi = {10.1145/3363384.3363394},
	abstract = {Description},
	language = {English},
	urldate = {2020-01-02},
	booktitle = {Proceedings of the {Halfway} to the {Future} {Symposium} 2019},
	publisher = {ACM},
	author = {Lechelt, Zuzanna and Elsden, Chris and Speed, Christopher and Helgason, Ingi and Paneels, Inge and Smyth, Michael and Terras, Melissa},
	month = nov,
	year = {2019},
}

Description

@incollection{vogeler_zur_2018,
	address = {Köln},
	title = {Zur {Weiterentwicklung} des “cognition support”: {Sammlungsvisualisierungen} als {Austragungsort} kritisch-kulturwissenschaftlicher {Forschung}},
	copyright = {Creative Commons Attribution 4.0 International, Open Access},
	isbn = {978-3-946275-02-2},
	url = {https://zenodo.org/record/3684897},
	language = {de},
	urldate = {2020-12-17},
	booktitle = {{DHd} 2018 {Kritik} der digitalen {Vernunft}},
	publisher = {Zenodo},
	author = {Windhager, Florian and Glinka, Katrin and Mayr, Eva and Schreder, Günther and Dörk, Marian},
	editor = {Vogeler, Georg},
	year = {2018},
	doi = {10.5281/zenodo.3684897},
	keywords = {Abstracts, DHd 2018, Digital Humanities},
	pages = {341--345},
}

@incollection{glinka_zwischen_2018,
	series = {Computing in {Art} and {Architecture}},
	title = {Zwischen {Repräsentation} und {Rezeption}: {Visualisierung} als {Facette} von {Analyse} und {Argumentation} in der {Kunstgeschichte}},
	volume = {1},
	url = {10.11588/ARTHISTORICUM.413.C5825},
	abstract = {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.},
	language = {de},
	urldate = {2020-12-17},
	booktitle = {Computing {Art} {Reader}: {Einführung} in die digitale {Kunstgeschichte}},
	publisher = {University Library Heidelberg},
	author = {Glinka, Katrin and Dörk, Marian},
	editor = {Kuroczyński, Piotr and Bell, Peter and Dieckmann, Lisa},
	year = {2018},
	doi = {10.11588/ARTHISTORICUM.413.C5825},
	note = {Version Number: 1},
	pages = {234--250},
}

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.

@article{bruggemann_bibliografischen_2018,
	title = {Die bibliografischen {Daten} der {Deutschen} {Nationalbibliothek} entfalten},
	volume = {30},
	issn = {0936-1138},
	url = {https://d-nb.info/1154315215/34},
	abstract = {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.},
	language = {de},
	number = {1},
	urldate = {2021-07-13},
	journal = {Dialog mit Bibliotheken},
	author = {Brüggemann, Viktoria and Dittrich, Katja and Dörk, Marian and Herseni, Johannes and Rauenbusch, Jens and Thomet, Fidel},
	editor = {Deutsche Nationalbibliothek},
	year = {2018},
	pages = {11--16},
}

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.

@article{gortana_off_2018,
	title = {Off the {Grid}: {Visualizing} a {Numismatic} {Collection} as {Dynamic} {Piles} and {Streams}},
	volume = {4},
	issn = {2056-6700},
	shorttitle = {Off the {Grid}},
	url = {10.16995/olh.280},
	doi = {10.16995/olh.280},
	abstract = {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.},
	language = {en},
	number = {2},
	urldate = {2020-12-17},
	journal = {Open Library of Humanities},
	author = {Gortana, Flavio and von Tenspolde, Franziska and Guhlmann, Daniela and Dörk, Marian},
	year = {2018},
	pages = {30},
}

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.

@inproceedings{toth_digital_2018,
	title = {Digital {Humanities} integration and management challenges in advanced imaging across institutions and technologies nondestructive imaging of {Egyptian} mummy papyrus cartonnage},
	url = {https://www.research.ed.ac.uk/portal/en/publications/digital-humanities-integration-and-management-challenges-in-advanced-imaging-across-institutions-and-technologies-nondestructive-imaging-of-egyptian-mummy-papyrus-cartonnage(d15852be-6062-4e24-b2da-8297dc8c36a9).html},
	abstract = {Description},
	language = {English},
	urldate = {2020-01-02},
	author = {Toth, Michael and Terras, Melissa and Gibson, Adam and Jones, Cerys},
	month = jul,
	year = {2018},
}

Description

@article{glinka_past_2017,
	title = {Past {Visions} and {Reconciling} {Views}: {Visualizing} {Time}, {Texture} and {Themes} in {Cultural} {Collections}},
	volume = {11},
	issn = {1938-4122},
	shorttitle = {Past {Visions} and {Reconciling} {Views}},
	url = {http://www.digitalhumanities.org/dhq/vol/11/2/000290/000290.html},
	abstract = {We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.},
	language = {en},
	number = {2},
	urldate = {2017-08-27},
	journal = {Digital Humanities Quarterly},
	author = {Glinka, Katrin and Pietsch, Christopher and Dörk, Marian},
	year = {2017},
}

We present a case study on visualizing a collection of historic drawings along its metadata structure while also allowing for close examination of the artifacts’ texture. With regards to the specific character of cultural heritage at the intersection of research, education, and public interest, the presented visualization environment aims at meeting the requirements of both researchers as well as a broader public. We present the results from a collaborative interdisciplinary research project that involved a cultural heritage foundation, art historians, designers, and computer scientists. The case study examines the potential of visualization when applied to, and developed for, cultural heritage collections. It specifically explores how techniques aimed at visualizing the quantitative structure of a collection can be coupled with a more qualitative mode that allows for detailed examination of the artifacts and their contexts by displaying high-resolution views of digitized cultural objects with detailed art historical research findings. Making use of latest web technologies, the resulting visualization environment allows for dynamic filtering and zooming of a collection of visual resources that are arranged along a contextualized timeline. We share insights from our collaborative design process and the feedback and usage data gathered during the deployment of the resulting prototype as a web application. We end with a discussion of transferability of carefully crafted and collaboratively negotiated visualizations of cultural heritage and raise questions concerning the applicability of our approach to related strands of humanities research.

@article{dork_one_2017,
	title = {One {View} is {Not} {Enough}: {High}-{Level} {Visualizations} of a {Large} {Cultural} {Collection}},
	volume = {23},
	issn = {0142-5471, 1569-979X},
	shorttitle = {One view is not enough},
	url = {10.1075/idj.23.1.06dor},
	doi = {10.1075/idj.23.1.06dor},
	abstract = {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.},
	language = {en},
	number = {1},
	urldate = {2020-12-17},
	journal = {Information Design Journal},
	author = {Dörk, Marian and Pietsch, Christopher and Credico, Gabriel},
	year = {2017},
	pages = {39--47},
}

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.

@book{reyes-garcia_image-interface_2017,
	address = {Hoboken, NJ},
	title = {The {Image}-{Interface}: {Graphical} {Supports} for {Visual} {Information}},
	isbn = {978-1-119-47416-6 978-1-78630-062-1},
	shorttitle = {The {Image}-{Interface}},
	url = {http://doi.wiley.com/10.1002/9781119474166},
	abstract = {Digital practices are shaped by graphical representations that appear on the computer screen, which is the principal surface for designing, visualizing, and interacting with digital information. Before any digital image or graphical interface is rendered on the screen there is a series of layers that affect its visual properties. To discover such processes it is necessary to investigate software applications, graphical user interfaces, programming languages and code, algorithms, data structures, and data types in their relationship with graphical outcomes and design possibilities.

This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.},
	language = {en},
	urldate = {2020-12-18},
	publisher = {John Wiley \& Sons, Inc.},
	author = {Reyes-Garcia, Everardo},
	year = {2017},
	doi = {10.1002/9781119474166},
}

Digital practices are shaped by graphical representations that appear on the computer screen, which is the principal surface for designing, visualizing, and interacting with digital information. Before any digital image or graphical interface is rendered on the screen there is a series of layers that affect its visual properties. To discover such processes it is necessary to investigate software applications, graphical user interfaces, programming languages and code, algorithms, data structures, and data types in their relationship with graphical outcomes and design possibilities. This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.

@book{nussbaumer_knaflic_storytelling_2017,
	address = {München},
	title = {Storytelling mit {Daten}: die {Grundlagen} der effektiven {Kommunikation} und {Visualisierung} mit {Daten}},
	isbn = {978-3-8006-5374-4},
	shorttitle = {Storytelling mit {Daten}},
	language = {ger},
	publisher = {Verlag Franz Vahlen},
	author = {Nussbaumer Knaflic, Cole},
	translator = {Kauschke, Mike},
	year = {2017},
	note = {OCLC: 958006079},
}

@article{guldi_history_2017,
	title = {A {History} of the {Participatory} {Map}},
	journal = {Public Culture},
	author = {Guldi, Jo},
	year = {2017},
}

@article{glinka_linking_2016,
	title = {Linking {Structure}, {Texture} and {Context} in a {Visualization} of {Historical} {Drawings} by {Frederick} {William} {IV} (1795–1861)},
	volume = {2},
	url = {http://journals.ub.uni-heidelberg.de/index.php/dah/article/view/33530},
	doi = {10.11588/DAH.2016.2.33530},
	abstract = {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.},
	language = {en},
	urldate = {2020-12-17},
	journal = {International Journal for Digital Art History},
	author = {Glinka, Katrin and Pietsch, Christopher and Dilba, Carsten and Dörk, Marian},
	collaborator = {Graphentis Verlag E.K., Munich},
	year = {2016},
	note = {Publisher: University Library Heidelberg},
	pages = {198--213},
}

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.

@incollection{manovich_exploring_2016,
	address = {London},
	title = {Exploring {Urban} {Social} {Media}: {Selfiecity} and {On} {Broadway}},
	isbn = {978-1-315-68599-1},
	url = {http://manovich.net/index.php/projects/urbansocialmedia},
	abstract = {Software has become essential to the functioning of cities. It is deeply embedded into the systems and infrastructure of the built environment and is entrenched in the management and governance of urban societies. Software-enabled technologies and services enhance the ways in which we understand and plan cities. It even has an effect on how we manage urban services and utilities.

Code and the City explores the extent and depth of the ways in which software mediates how people work, consume, communication, travel and play. The reach of these systems is set to become even more pervasive through efforts to create smart cities: cities that employ ICTs to underpin and drive their economy and governance. Yet, despite the roll-out of software-enabled systems across all aspects of city life, the relationship between code and the city has barely been explored from a critical social science perspective. This collection of essays seeks to fill that gap, and offers an interdisciplinary examination of the relationship between software and contemporary urbanism.

This book will be of interest to those researching or studying smart cities and urban infrastructure.},
	language = {en},
	urldate = {2021-07-13},
	booktitle = {Code and the {City}},
	publisher = {Routledge},
	author = {Manovich, Lev},
	editor = {Kitchin, Rob and Perng, Sung-Yueh},
	year = {2016},
}

Software has become essential to the functioning of cities. It is deeply embedded into the systems and infrastructure of the built environment and is entrenched in the management and governance of urban societies. Software-enabled technologies and services enhance the ways in which we understand and plan cities. It even has an effect on how we manage urban services and utilities. Code and the City explores the extent and depth of the ways in which software mediates how people work, consume, communication, travel and play. The reach of these systems is set to become even more pervasive through efforts to create smart cities: cities that employ ICTs to underpin and drive their economy and governance. Yet, despite the roll-out of software-enabled systems across all aspects of city life, the relationship between code and the city has barely been explored from a critical social science perspective. This collection of essays seeks to fill that gap, and offers an interdisciplinary examination of the relationship between software and contemporary urbanism. This book will be of interest to those researching or studying smart cities and urban infrastructure.

@phdthesis{krautli_visualising_2016,
	address = {London},
	type = {{PhD} {Thesis}},
	title = {Visualising {Cultural} {Data}: {Exploring} {Digital} {Collections} {Through} {Timeline} {Visualisations}},
	url = {https://researchonline.rca.ac.uk/1774/},
	abstract = {This thesis explores the ability of data visualisation to enable knowl-edge discovery in digital collections. Its emphasis lies on time-based visualisations, such as timelines. Although timelines are among the earliest examples of graphical renderings of data, they are often used merely as devices for linear storytelling and not as tools for visual analysis. Investigating this type of visualisation reveals the particular challenges of digital timelines for scholarly research. In addition, the intersection between the key issues of time-wise visualisation and digital collections acts as a focal point. Departing from authored temporal descriptions in collections data, the research examines how curatorial decisions in?uence collec-tions data and how these decisions may be made manifest in timeline visualisations. The thesis contributes a new understanding of the knowledge embedded in digital collections and provides practical and conceptual means for making this knowledge accessible and usable. The case is made that digital collections are not simply represen-tations of physical archives. Digital collections record not only what is known about the content of an archive. Collections data contains traces of institutional decisions and curatorial biases, as well as data related to administrative procedures. Such ?hidden data? ? information that has not been explicitly recorded, but is nevertheless present in the dataset ? is crucial for drawing informed conclusions from dig-itised cultural collections and can be exposed through appropriately designed visualisation tools. The research takes a practice-led and collaborative approach, work-ing closely with cultural institutions and their curators. Functional prototypes address issues of visualising large cultural datasets and the representation of uncertain and multiple temporal descriptions that are typically found in digital collections. The prototypes act as means towards an improved understanding of and a critical engagement with the time-wise visualisation of col-lections data. Two example implementations put the design principles that have emerged into practice and demonstrate how such tools may assist in knowledge discovery in cultural collections. Calls for new visualisation tools that are suitable for the purposes of humanities research are widespread in the scholarly community. However, the present thesis shows that gaining new insights into digital collections does not only require technological advancement, but also an epistemological shift in working with digital collections. This shift is expressed in the kind of questions that curators have started seeking to answer through visualisation. Digitisation requires and affords new ways of interrogating collections that depart from putting the collected artefact and its creator at the centre of human-istic enquiry. Instead, digital collections need to be seen as artefacts themselves. Recognising this leads curators to address self-re?ective research questions that seek to study the history of an institution and the in?uence that individuals have had on the holdings of a collection; questions that so far escaped their areas of research.},
	language = {en},
	urldate = {2021-07-13},
	school = {Royal College of Art},
	author = {Kräutli, Florian},
	year = {2016},
	keywords = {Datenvisualisierung, Zeitstrahl},
}

This thesis explores the ability of data visualisation to enable knowl-edge discovery in digital collections. Its emphasis lies on time-based visualisations, such as timelines. Although timelines are among the earliest examples of graphical renderings of data, they are often used merely as devices for linear storytelling and not as tools for visual analysis. Investigating this type of visualisation reveals the particular challenges of digital timelines for scholarly research. In addition, the intersection between the key issues of time-wise visualisation and digital collections acts as a focal point. Departing from authored temporal descriptions in collections data, the research examines how curatorial decisions in?uence collec-tions data and how these decisions may be made manifest in timeline visualisations. The thesis contributes a new understanding of the knowledge embedded in digital collections and provides practical and conceptual means for making this knowledge accessible and usable. The case is made that digital collections are not simply represen-tations of physical archives. Digital collections record not only what is known about the content of an archive. Collections data contains traces of institutional decisions and curatorial biases, as well as data related to administrative procedures. Such ?hidden data? ? information that has not been explicitly recorded, but is nevertheless present in the dataset ? is crucial for drawing informed conclusions from dig-itised cultural collections and can be exposed through appropriately designed visualisation tools. The research takes a practice-led and collaborative approach, work-ing closely with cultural institutions and their curators. Functional prototypes address issues of visualising large cultural datasets and the representation of uncertain and multiple temporal descriptions that are typically found in digital collections. The prototypes act as means towards an improved understanding of and a critical engagement with the time-wise visualisation of col-lections data. Two example implementations put the design principles that have emerged into practice and demonstrate how such tools may assist in knowledge discovery in cultural collections. Calls for new visualisation tools that are suitable for the purposes of humanities research are widespread in the scholarly community. However, the present thesis shows that gaining new insights into digital collections does not only require technological advancement, but also an epistemological shift in working with digital collections. This shift is expressed in the kind of questions that curators have started seeking to answer through visualisation. Digitisation requires and affords new ways of interrogating collections that depart from putting the collected artefact and its creator at the centre of human-istic enquiry. Instead, digital collections need to be seen as artefacts themselves. Recognising this leads curators to address self-re?ective research questions that seek to study the history of an institution and the in?uence that individuals have had on the holdings of a collection; questions that so far escaped their areas of research.

@inproceedings{dignazio_feminist_2016,
	title = {Feminist {Data} {Visualization}},
	url = {http://www.kanarinka.com/wp-content/uploads/2015/07/IEEE_Feminist_Data_Visualization.pdf},
	author = {D’Ignazio, Catherine and Klein, Lauren F.},
	year = {2016},
}

@article{whitelaw_generous_2015,
	title = {Generous {Interfaces} for {Digital} {Cultural} {Collections}},
	volume = {009},
	issn = {1938-4122},
	url = {http://www.digitalhumanities.org/dhq/vol/9/1/000205/000205.html},
	number = {1},
	journal = {Digital Humanities Quarterly},
	author = {Whitelaw, Mitchell},
	month = may,
	year = {2015},
}

@incollection{schreibman_graphical_2015,
	address = {Chichester, UK},
	title = {Graphical {Approaches} to the {Digital} {Humanities}},
	isbn = {978-1-118-68060-5 978-1-118-68059-9},
	url = {http://doi.wiley.com/10.1002/9781118680605.ch17},
	abstract = {As digital humanists adopt visualization techniques developed in the social sciences, natural sciences, and other disciplines grounded in empirical approaches to knowledge, fundamental discrepancies arise between the modes of representation and the interpretative bases of humanistic inquiry. This chapter brings critical theory to bear on the study of information visualizations, and also suggests some ways to advance the production of approaches more squarely rooted in ambiguity, contradiction, and other characteristics of interpretative methods. Attention is given to the structure of interface and its rhetorics as well as the graphical formats that structure meaning in visualizations – and to the need for a critical language to reflect on these formats and processes.},
	language = {en},
	urldate = {2020-12-15},
	booktitle = {A {New} {Companion} to {Digital} {Humanities}},
	publisher = {John Wiley \& Sons, Ltd},
	author = {Drucker, Johanna},
	editor = {Schreibman, Susan and Siemens, Ray and Unsworth, John},
	year = {2015},
	doi = {10.1002/9781118680605.ch17},
	pages = {238--250},
}

As digital humanists adopt visualization techniques developed in the social sciences, natural sciences, and other disciplines grounded in empirical approaches to knowledge, fundamental discrepancies arise between the modes of representation and the interpretative bases of humanistic inquiry. This chapter brings critical theory to bear on the study of information visualizations, and also suggests some ways to advance the production of approaches more squarely rooted in ambiguity, contradiction, and other characteristics of interpretative methods. Attention is given to the structure of interface and its rhetorics as well as the graphical formats that structure meaning in visualizations – and to the need for a critical language to reflect on these formats and processes.

@incollection{glinka_visualising_2015,
	address = {Glückstadt},
	series = {Multimedia},
	title = {Visualising the »{Un}-seen«: {Towards} {Critical} {Approaches} and {Strategies} of {Inclusion} in {Digital} {Cultural} {Heritage} {Interfaces}},
	isbn = {978-3-864880-082-7},
	url = {http://uclab.fh-potsdam.de/wp/wp-content/uploads/Visualising_the_Unseen_KuI15.pdf},
	abstract = {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.},
	language = {de},
	urldate = {2021-07-13},
	booktitle = {Kultur und {Informatik}: {Cross} {Media}},
	publisher = {vwh Verlag Werner Hülsbusch},
	author = {Glinka, Katrin and Meier, Sebastian and Dörk, Marian},
	editor = {Busch, Carsten and Sieck, Jürgen},
	year = {2015},
	pages = {105--117},
}

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.

@inproceedings{glinka_museum_2015,
	title = {Museum im {Display}: {Visualisierung} kultureller {Sammlungen} ({Vikus})},
	isbn = {978-3-88609-772-2},
	url = {https://books.ub.uni-heidelberg.de/arthistoricum/reader/download/157/157-17-7648-1-10-20160826.pdf},
	abstract = {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.},
	language = {de},
	urldate = {2021-07-13},
	booktitle = {Konferenzband {EVA} {Berlin} 2015. {Elektronische} {Medien} \& {Kunst}, {Kultur} und {Historie}},
	author = {Glinka, Katrin and Dörk, Marian},
	editor = {Bienert, Andreas and Börner, Anko and Emenlauer-Blömers, Eva and Hemsley, James},
	year = {2015},
	pages = {18--23},
}

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.

@inproceedings{yang_automated_2015,
	address = {Granada, Spain},
	title = {Automated color clustering for medieval manuscript analysis},
	isbn = {978-1-5090-0254-2 978-1-5090-0048-7},
	url = {http://ieeexplore.ieee.org/document/7419462/},
	doi = {10.1109/DigitalHeritage.2015.7419462},
	urldate = {2018-08-14},
	booktitle = {2015 {Digital} {Heritage}},
	publisher = {IEEE},
	author = {Yang, Ying and Pintus, Ruggero and Gobbetti, Enrico and Rushmeier, Holly},
	month = sep,
	year = {2015},
	pages = {101--104},
}

@book{presner_hypercities_2014,
	address = {Cambridge, Massachusetts},
	series = {{MetaLABprojects}},
	title = {{HyperCities} thick mapping in the digital humanities},
	isbn = {978-0-674-72534-8},
	language = {eng},
	publisher = {Harvard University Press},
	editor = {Presner, Todd and Shepard, David and Kawano, Yoh},
	year = {2014},
	keywords = {ANALYTISCHE ABBILDUNGEN UND KONSTRUKTIONEN KOMPLEXER RÄUME (ANALYTISCHE RÄUME), Cartography, Digital Humanities, GEOGRAFISCHE INFORMATIONSSYSTEME, GLOBAL NAVIGATION SATELLITE SYSTEM, GLONASS (GEODÄSIE), GOOGLE MAPS + GOOGLE EARTH + TELEKARTOGRAPHIE (KARTOGRAPHIE), Human geography, Humanities, Hypermedia, Hypertext, Information storage and retrieval systems, Interactive multimedia, Kartografie, Registrierung Bildverarbeitung},
}

@article{pena_linked_2014,
	title = {Linked {Open} {Data} {Visualization} {Revisited}: {A} {Survey}},
	url = {http://www.semantic-web-journal.net/system/files/swj937.pdf},
	abstract = {Mass adoption of the Semantic Web’s vision will not become a reality unless the benefits provided by data published under the Linked Open Data principles are understood by the majority of users. As technical and implementation details are far from being interesting for lay users, the ability of machines and algorithms to understand what the data is about should provide smarter summarisations of the available data. Visualization of Linked Open Data proposes itself as a perfect strategy to ease the access to information by all users, in order to save time learning what the dataset is about and without requiring knowledge on semantics. This article collects previous studies from the Information Visualization and the Exploratory Data Analysis fields in order to apply the lessons learned to Linked Open Data visualization. Datatype analysis and visualization tasks proposed by Ben Shneiderman are also added in the research to cover different visualization features. Finally, an evaluation of the current approaches is performed based on the dimensions previously exposed. The article ends with some conclusions extracted from the research.},
	language = {en},
	urldate = {2021-07-13},
	author = {Peña, Oscar and Aguilera, Unai and López-de-Ipiña, Diego},
	year = {2014},
}

Mass adoption of the Semantic Web’s vision will not become a reality unless the benefits provided by data published under the Linked Open Data principles are understood by the majority of users. As technical and implementation details are far from being interesting for lay users, the ability of machines and algorithms to understand what the data is about should provide smarter summarisations of the available data. Visualization of Linked Open Data proposes itself as a perfect strategy to ease the access to information by all users, in order to save time learning what the dataset is about and without requiring knowledge on semantics. This article collects previous studies from the Information Visualization and the Exploratory Data Analysis fields in order to apply the lessons learned to Linked Open Data visualization. Datatype analysis and visualization tasks proposed by Ben Shneiderman are also added in the research to cover different visualization features. Finally, an evaluation of the current approaches is performed based on the dimensions previously exposed. The article ends with some conclusions extracted from the research.

@article{drucker_performative_2013,
	title = {Performative {Materiality} and {Theoretical} {Approaches} to {Interface}},
	volume = {7},
	issn = {1938-4122},
	url = {http://www.digitalhumanities.org/dhq/vol/7/1/000143/000143.html},
	language = {en},
	number = {1},
	urldate = {2021-08-02},
	journal = {Digital Humanities Quarterly},
	author = {Drucker, Johanna},
	year = {2013},
}

@article{hochman_zooming_2013,
	title = {Zooming into an {Instagram} {City}: {Reading} the {Local} through {Social} {Media}},
	volume = {18},
	issn = {1396-0466},
	shorttitle = {Zooming into an {Instagram} {City}},
	url = {10.5210/fm.v18i7.4711},
	doi = {10.5210/fm.v18i7.4711},
	abstract = {How are users’ experiences of production, sharing, and interaction with the media they create mediated by the interfaces of particular social media platforms? How can we use computational analysis and visualizations of the content of visual social media (e.g., user photos, as opposed to upload dates, locations, tags and other metadata) to study social and cultural patterns? How can we visualize this media on multiple spatial and temporal scales? In this paper, we examine these questions through the analysis of the popular mobile photo–sharing application Instagram. First, we analyze the affordances provided by the Instagram interface and the ways this interface and the application’s tools structure users’ understanding and use of the “Instagram medium.” Next, we compare the visual signatures of 13 different global cities using 2.3 million Instagram photos from these cities. Finally, we use spatio–temporal visualizations of over 200,000 Instagram photos uploaded in Tel Aviv, Israel over three months to show how they can offer social, cultural and political insights about people’s activities in particular locations and time periods.},
	language = {en},
	number = {7},
	urldate = {2020-12-17},
	journal = {First Monday},
	author = {Hochman, Nadav and Manovich, Lev},
	year = {2013},
}

How are users’ experiences of production, sharing, and interaction with the media they create mediated by the interfaces of particular social media platforms? How can we use computational analysis and visualizations of the content of visual social media (e.g., user photos, as opposed to upload dates, locations, tags and other metadata) to study social and cultural patterns? How can we visualize this media on multiple spatial and temporal scales? In this paper, we examine these questions through the analysis of the popular mobile photo–sharing application Instagram. First, we analyze the affordances provided by the Instagram interface and the ways this interface and the application’s tools structure users’ understanding and use of the “Instagram medium.” Next, we compare the visual signatures of 13 different global cities using 2.3 million Instagram photos from these cities. Finally, we use spatio–temporal visualizations of over 200,000 Instagram photos uploaded in Tel Aviv, Israel over three months to show how they can offer social, cultural and political insights about people’s activities in particular locations and time periods.

@inproceedings{dork_critical_2013,
	address = {Paris},
	title = {Critical {InfoVis}: {Exploring} the {Politics} of {Visualization}},
	isbn = {978-1-4503-1952-2},
	shorttitle = {Critical {InfoVis}},
	url = {10.1145/2468356.2468739},
	doi = {10.1145/2468356.2468739},
	abstract = {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.},
	language = {en},
	urldate = {2020-12-17},
	booktitle = {{CHI} '13 {Extended} {Abstracts} on {Human} {Factors} in {Computing} {Systems}},
	publisher = {ACM Press},
	author = {Dörk, Marian and Feng, Patrick and Collins, Christopher and Carpendale, Sheelagh},
	year = {2013},
	pages = {2189--2198},
}

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.

@incollection{weber_interaktive_2013,
	address = {Berlin, Heidelberg},
	title = {Interaktive {Karten} und {Geovisualisierungen}},
	isbn = {978-3-642-15452-2 978-3-642-15453-9},
	url = {http://link.springer.com/10.1007/978-3-642-15453-9_3},
	abstract = {Karten dienen seit Jahrtausenden als Repräsentationen räumlichen Wissens. Aufgrund ihrer herausragenden Fähigkeit zur Visualisierung von Geoinformationen gehörten sie allzeit zu den begehrtesten Artefakten der jeweils Herrschenden. Neben der Visualisierung von Geoinformationen dienten sie zur Kommunikation politischer und oftmals ideologischer Standpunkte im Zusammenhang mit dem Raumbezug (Crampton 2010; Meng 2009; Monmonier 1996).},
	language = {de},
	urldate = {2020-12-17},
	booktitle = {Interaktive {Infografiken}},
	publisher = {Springer Berlin Heidelberg},
	author = {Heidmann, Frank},
	editor = {Weber, Wibke and Burmester, Michael and Tille, Ralph},
	year = {2013},
	doi = {10.1007/978-3-642-15453-9_3},
	note = {Series Title: X.media.press},
	pages = {39--69},
}

Karten dienen seit Jahrtausenden als Repräsentationen räumlichen Wissens. Aufgrund ihrer herausragenden Fähigkeit zur Visualisierung von Geoinformationen gehörten sie allzeit zu den begehrtesten Artefakten der jeweils Herrschenden. Neben der Visualisierung von Geoinformationen dienten sie zur Kommunikation politischer und oftmals ideologischer Standpunkte im Zusammenhang mit dem Raumbezug (Crampton 2010; Meng 2009; Monmonier 1996).

@incollection{valdivia_media_2012,
	address = {Oxford, UK},
	title = {Media {Visualization}: {Visual} {Techniques} {For} {Exploring} {Large} {Media} {Collections}},
	isbn = {978-1-4051-9356-6 978-1-4443-6150-6},
	shorttitle = {Media {Visualization}},
	url = {http://doi.wiley.com/10.1002/9781444361506.wbiems144},
	abstract = {Over the last 20 years, information visualization became a common tool in science and also a growing presence in the arts and culture at large. This chapter outlines a taxonomy of new visualization techniques particularly useful for media research, what Manovich calls “media visualization.” Where information visualization involves translating the world into numbers and then visualizing the relationship between those numbers, media visualization involves translating a set of images into another image that can reveal patterns that might not otherwise be apparent in the collection of images. Using the open source image processing software called ImageJ (normally used in medical research and other scientific fields), Manovich and his collaborators have designed a set of tools for media visualization that can be used by other researchers interested in exploring large sets of images, even without knowing exactly what they are looking for beforehand. The techniques outlined here are based on the work in visualization of patterns in cinema, TV, animation, videogames, and other media carried out in the Software Studies Initiative at the University of California, San Diego.},
	language = {en},
	urldate = {2020-12-17},
	booktitle = {The {International} {Encyclopedia} of {Media} {Studies}},
	publisher = {Blackwell Publishing Ltd},
	author = {Manovich, Lev},
	collaborator = {Valdivia, Angharad N.},
	year = {2012},
	doi = {10.1002/9781444361506.wbiems144},
}

Over the last 20 years, information visualization became a common tool in science and also a growing presence in the arts and culture at large. This chapter outlines a taxonomy of new visualization techniques particularly useful for media research, what Manovich calls “media visualization.” Where information visualization involves translating the world into numbers and then visualizing the relationship between those numbers, media visualization involves translating a set of images into another image that can reveal patterns that might not otherwise be apparent in the collection of images. Using the open source image processing software called ImageJ (normally used in medical research and other scientific fields), Manovich and his collaborators have designed a set of tools for media visualization that can be used by other researchers interested in exploring large sets of images, even without knowing exactly what they are looking for beforehand. The techniques outlined here are based on the work in visualization of patterns in cinema, TV, animation, videogames, and other media carried out in the Software Studies Initiative at the University of California, San Diego.

@article{blei_introduction_2012,
	title = {Introduction to {Probabilistic} {Topic} {Models}},
	volume = {55},
	doi = {10.1145/2133806.2133826},
	abstract = {Abstract: Probabilistic topic models are a suite of algorithms whose aim is to discover the hidden thematic structure in large archives of documents. In this article, we review the main ideas of this ⬚eld, survey the current state-of-the-art, and describe some promising future directions. We ⬚rst describe latent Dirichlet allocation (LDA) [8], which is the simplest kind of topic model. We discuss its connections to probabilistic modeling,
and describe two kinds of algorithms for topic discovery. We then survey the growing
body of research that extends and applies topic models in interesting ways. These
extensions have been developed by relaxing some of the statistical assumptions of LDA,
incorporating meta-data into the analysis of the documents, and using similar kinds
of models on a diversity of data types such as social networks, images and genetics.
Finally, we give our thoughts as to some of the important unexplored directions for
topic modeling. These include rigorous methods for checking models built for data
exploration, new approaches to visualizing text and other high dimensional data, and
moving beyond traditional information engineering applications towards using topic models for more scienti⬚c ends.},
	language = {en},
	number = {4},
	journal = {Communications of the ACM},
	author = {Blei, David M.},
	year = {2012},
	keywords = {*****, act\_ContentAnalysis, goal\_Analysis, meta\_GiveOverview, t\_TopicModeling},
	pages = {77--84},
}

Abstract: Probabilistic topic models are a suite of algorithms whose aim is to discover the hidden thematic structure in large archives of documents. In this article, we review the main ideas of this ⬚eld, survey the current state-of-the-art, and describe some promising future directions. We ⬚rst describe latent Dirichlet allocation (LDA) [8], which is the simplest kind of topic model. We discuss its connections to probabilistic modeling, and describe two kinds of algorithms for topic discovery. We then survey the growing body of research that extends and applies topic models in interesting ways. These extensions have been developed by relaxing some of the statistical assumptions of LDA, incorporating meta-data into the analysis of the documents, and using similar kinds of models on a diversity of data types such as social networks, images and genetics. Finally, we give our thoughts as to some of the important unexplored directions for topic modeling. These include rigorous methods for checking models built for data exploration, new approaches to visualizing text and other high dimensional data, and moving beyond traditional information engineering applications towards using topic models for more scienti⬚c ends.

@article{graham_getting_2012,
	title = {Getting {Started} with {Topic} {Modeling} and {MALLET}},
	url = {https://programminghistorian.org/en/lessons/topic-modeling-and-mallet},
	doi = {10.46430/phen0017},
	language = {en},
	urldate = {2020-05-23},
	journal = {Programming Historian},
	author = {Graham, Shawn and Weingart, Scott and Milligan, Ian},
	year = {2012},
}

@misc{weingart_topic_2012,
	title = {Topic {Modeling} for {Humanists}: {A} {Guided} {Tour}},
	shorttitle = {Topic {Modeling} for {Humanists}},
	url = {http://www.scottbot.net/HIAL/?p=19113},
	abstract = {It’s that time again! Somebody else posted a really clear and enlightening description of topic modeling on the internet. This time it was Allen Riddell, and it’s so good that it inspired me to write this post about topic modeling that includes no actual new information, but combines a lot of old information in a way that will hopefully be useful. If there’s anything I’ve missed, by all means let me know and I’ll update accordingly.},
	language = {en},
	urldate = {2012-07-26},
	journal = {the scottbot irregular},
	author = {Weingart, Scott},
	month = jul,
	year = {2012},
}

It’s that time again! Somebody else posted a really clear and enlightening description of topic modeling on the internet. This time it was Allen Riddell, and it’s so good that it inspired me to write this post about topic modeling that includes no actual new information, but combines a lot of old information in a way that will hopefully be useful. If there’s anything I’ve missed, by all means let me know and I’ll update accordingly.

@incollection{berry_how_2012,
	address = {London},
	title = {How to {Compare} {One} {Million} {Images}?},
	isbn = {978-0-230-29265-9 978-0-230-37193-4},
	url = {http://link.springer.com/10.1057/9780230371934_14},
	language = {en},
	urldate = {2020-12-17},
	booktitle = {Understanding {Digital} {Humanities}},
	publisher = {Palgrave Macmillan UK},
	author = {Manovich, Lev},
	editor = {Berry, David M.},
	year = {2012},
	doi = {10.1057/9780230371934_14},
	pages = {249--278},
}

@misc{guldi_what_2012,
	title = {What is the {Spatial} {Turn}? · {Spatial} {Humanities}},
	url = {http://spatial.scholarslab.org/spatial-turn/},
	urldate = {2020-01-21},
	journal = {Spatial Humanities},
	author = {Guldi, Jo},
	year = {2012},
}

@inproceedings{leska_optimization_2012,
	title = {Optimization of the longitudinal dynamics of parallel hybrid railway vehicles},
	isbn = {978-1-4673-4503-3},
	doi = {10.1109/CCA.2012.6402436},
	booktitle = {Proceedings of the {IEEE} {International} {Conference} on {Control} {Applications}, {CCA} 2012, {Dubrovnik}, {Croatia}, {October} 3-5, 2012},
	publisher = {IEEE},
	author = {Leska, Maik and Gruning, Tobias and Aschemann, Harald and Rauh, Andreas},
	year = {2012},
	pages = {202--207},
}

@article{drucker_humanities_2011,
	title = {Humanities {Approaches} to {Graphical} {Display}},
	volume = {5},
	shorttitle = {Display},
	url = {http://www.digitalhumanities.org/dhq/vol/5/1/000091/000091.html},
	language = {en},
	number = {1},
	urldate = {2016-03-11},
	journal = {Digital Humanities Quarterly},
	author = {Drucker, Johanna},
	year = {2011},
}

@article{boyer_using_2011,
	title = {Using {GIS} to {Manage} {Philadelphia}'s {Archival} {Photographs}},
	volume = {74},
	issn = {0360-9081},
	url = {https://www.jstor.org/stable/23079054},
	abstract = {The City of Philadelphia, Pennsylvania, has captured photographs of city building projects and other government activities for more than 140 years. These photographs are now maintained in the City Archives by the Philadelphia Department of Records. Although many of the photographs were originally taken for risk management purposes, the passage of time has made them an invaluable source of reference into the city's rich past. To make these historic photographs more accessible to the general public, the Department of Records implemented the geographically searchable PhillyHistory.org website in 2005, thus providing new opportunities for education and access.},
	number = {2},
	urldate = {2021-01-25},
	journal = {The American Archivist},
	author = {Boyer, Deborah and Cheetham, Robert and Johnson, Mary L.},
	year = {2011},
	note = {Publisher: Society of American Archivists},
	pages = {652--663},
}

The City of Philadelphia, Pennsylvania, has captured photographs of city building projects and other government activities for more than 140 years. These photographs are now maintained in the City Archives by the Philadelphia Department of Records. Although many of the photographs were originally taken for risk management purposes, the passage of time has made them an invaluable source of reference into the city's rich past. To make these historic photographs more accessible to the general public, the Department of Records implemented the geographically searchable PhillyHistory.org website in 2005, thus providing new opportunities for education and access.

@article{weingart_demystifying_2011,
	title = {Demystifying {Networks}, {Parts} {I} \& {II}},
	volume = {1},
	shorttitle = {Networks},
	url = {http://journalofdigitalhumanities.org/1-1/demystifying-networks-by-scott-weingart/},
	language = {en},
	number = {1},
	urldate = {2016-03-11},
	journal = {Journal of Digital Humanities},
	author = {Weingart, Scott},
	year = {2011},
}

@incollection{guldi_landscape_2011,
	title = {Landscape and {Place}},
	isbn = {978-0-7486-5404-8},
	language = {en},
	booktitle = {Research {Methods} for {History}},
	publisher = {Edinburgh University Press},
	author = {Guldi, Jo},
	month = nov,
	year = {2011},
	note = {Google-Books-ID: HZJvAAAAQBAJ},
	keywords = {History / Historiography, Reference / Research},
	pages = {66--80},
}

@article{gregory_different_2008,
	title = {Different {Places}, {Different} {Stories}: {Infant} {Mortality} {Decline} in {England} and {Wales}, 1851–1911},
	volume = {98},
	issn = {0004-5608},
	shorttitle = {Different {Places}, {Different} {Stories}},
	url = {https://doi.org/10.1080/00045600802224406},
	doi = {10.1080/00045600802224406},
	abstract = {This article presents a substantive analysis using the Great Britain Historical Geographical Information System (GIS), one of the earliest national historical GISs. It develops exploratory techniques to explore local patterns of demographic change and applies these to the study of infant mortality in England and Wales from 1851 to 1911. The techniques developed could be applied to a wide variety of fields where the aim is to explore long-term spatio-temporal change using data published for administrative units that are affected by boundary changes. The Victorian and Edwardian eras saw the origins of the sustained infant mortality decline that characterized the entire twentieth century. Although the period has been extensively studied for a century and more, our knowledge of this vital phase is still surprisingly limited. In particular, much of the research to date has focused on urban areas and has thus stressed urban explanations as to why infant mortality began to decline. Because this article uses a comprehensive GIS database, we are able to challenge some of the orthodoxies that have emerged. It reveals that patterns of infant mortality decline in different parts of the country were more complex than has previously been described. Far from the national rate being driven by changes in urban areas, the largest declines and earliest declines in infant mortality were found in rural parts of the southeast of England, as the rural periphery lagged far behind. Urban areas were slow to decline due to the specific conditions that existed in them in this period.},
	language = {en},
	number = {4},
	urldate = {2020-12-18},
	journal = {Annals of the Association of American Geographers},
	author = {Gregory, Ian},
	year = {2008},
	note = {Num Pages: 22
Number: 4},
	pages = {773--794},
}

This article presents a substantive analysis using the Great Britain Historical Geographical Information System (GIS), one of the earliest national historical GISs. It develops exploratory techniques to explore local patterns of demographic change and applies these to the study of infant mortality in England and Wales from 1851 to 1911. The techniques developed could be applied to a wide variety of fields where the aim is to explore long-term spatio-temporal change using data published for administrative units that are affected by boundary changes. The Victorian and Edwardian eras saw the origins of the sustained infant mortality decline that characterized the entire twentieth century. Although the period has been extensively studied for a century and more, our knowledge of this vital phase is still surprisingly limited. In particular, much of the research to date has focused on urban areas and has thus stressed urban explanations as to why infant mortality began to decline. Because this article uses a comprehensive GIS database, we are able to challenge some of the orthodoxies that have emerged. It reveals that patterns of infant mortality decline in different parts of the country were more complex than has previously been described. Far from the national rate being driven by changes in urban areas, the largest declines and earliest declines in infant mortality were found in rural parts of the southeast of England, as the rural periphery lagged far behind. Urban areas were slow to decline due to the specific conditions that existed in them in this period.

@article{maaten_visualizing_2008,
	title = {Visualizing {Data} {Using} t-{SNE}},
	volume = {9},
	issn = {1533-7928},
	url = {http://jmlr.org/papers/v9/vandermaaten08a.html},
	language = {en},
	number = {86},
	urldate = {2020-12-28},
	journal = {Journal of Machine Learning Research},
	author = {Maaten, Laurens van der and Hinton, Geoffrey},
	year = {2008},
	pages = {2579--2605},
}

@book{moretti_graphs_2005,
	address = {London; New York},
	title = {Graphs, {Maps}, {Trees}: {Abstract} {Models} for a {Literary} {History}},
	isbn = {978-1-84467-026-0},
	shorttitle = {Graphs, maps, trees},
	language = {en},
	publisher = {Verso},
	author = {Moretti, Franco},
	year = {2005},
	keywords = {Chronology, Criticism, Fiction, History and criticism, Literature, Miscellanea, Philosophy, distant reading},
}

@article{blei_latent_2003,
	title = {Latent {Dirichlet} {Allocation}},
	volume = {3},
	issn = {1532-4435},
	url = {http://dl.acm.org/citation.cfm?id=944919.944937},
	abstract = {We describe latent Dirichlet allocation (LDA), a generative probabilistic model for collections of discrete data such as text corpora. LDA is a three-level hierarchical Bayesian model, in which each item of a collection is modeled as a finite mixture over an underlying set of topics. Each topic is, in turn, modeled as an infinite mixture over an underlying set of topic probabilities. In the context of text modeling, the topic probabilities provide an explicit representation of a document. We present efficient approximate inference techniques based on variational methods and an EM algorithm for empirical Bayes parameter estimation. We report results in document modeling, text classification, and collaborative filtering, comparing to a mixture of unigrams model and the probabilistic LSI model.},
	language = {en},
	urldate = {2014-03-29},
	journal = {J. Mach. Learn. Res.},
	author = {Blei, David M. and Ng, Andrew Y. and Jordan, Michael I.},
	year = {2003},
	pages = {993--1022},
}

We describe latent Dirichlet allocation (LDA), a generative probabilistic model for collections of discrete data such as text corpora. LDA is a three-level hierarchical Bayesian model, in which each item of a collection is modeled as a finite mixture over an underlying set of topics. Each topic is, in turn, modeled as an infinite mixture over an underlying set of topic probabilities. In the context of text modeling, the topic probabilities provide an explicit representation of a document. We present efficient approximate inference techniques based on variational methods and an EM algorithm for empirical Bayes parameter estimation. We report results in document modeling, text classification, and collaborative filtering, comparing to a mixture of unigrams model and the probabilistic LSI model.

@book{tufte_visual_2001,
	address = {Cheshire, Conn},
	edition = {2nd ed},
	title = {The visual display of quantitative information},
	isbn = {978-0-9613921-4-7},
	url = {http://www.edwardtufte.com/tufte/books_vdqi},
	abstract = {The classic book on statistical graphics, charts, tables. Theory and practice in the design of data graphics, 250 illustrations of the best (and a few of the worst) statistical graphics, with detailed analysis of how to display data for precise, effective, quick analysis. Design of the high-resolution displays, small multiples. Editing and improving graphics. The data-ink ratio. Time-series, relational graphics, data maps, multivariate designs. Detection of graphical deception: design variation vs. data variation. Sources of deception. Aesthetics and data graphical displays.

This is the second edition of The Visual Display of Quantitative Information. Recently published, this new edition provides excellent color reproductions of the many graphics of William Playfair, adds color to other images, and includes all the changes and corrections accumulated during 17 printings of the first edition.},
	language = {en},
	publisher = {Graphics Press},
	author = {Tufte, Edward R.},
	year = {2001},
	keywords = {act\_Visualizing},
}

The classic book on statistical graphics, charts, tables. Theory and practice in the design of data graphics, 250 illustrations of the best (and a few of the worst) statistical graphics, with detailed analysis of how to display data for precise, effective, quick analysis. Design of the high-resolution displays, small multiples. Editing and improving graphics. The data-ink ratio. Time-series, relational graphics, data maps, multivariate designs. Detection of graphical deception: design variation vs. data variation. Sources of deception. Aesthetics and data graphical displays. This is the second edition of The Visual Display of Quantitative Information. Recently published, this new edition provides excellent color reproductions of the many graphics of William Playfair, adds color to other images, and includes all the changes and corrections accumulated during 17 printings of the first edition.

@book{bertin_graphische_1974,
	address = {Berlin},
	edition = {übersetzt und bearbeitet nach der 2. franz. Aufl.},
	title = {Graphische {Semiologie}. {Diagramme}, {Netze}, {Karten}},
	isbn = {978-3-11-003660-2},
	language = {ger},
	publisher = {de Gruyter},
	author = {Bertin, Jacques},
	year = {1974},
	note = {OCLC: 247772840},
}