[Editor's note: Series of maps showing twitter tweet density in New York, London, Paris and Munich (some but not all tweets are tagged with geographic coordinates) with hypsometric tints, contours, and placenames (with some literary license). A little more refined than those San Francisco crime maps floating around earlier this month. Thanks Andy!]
Over the past few months we have been harvesting geospatial data from Twitter with the aim of creating a series of new city maps based on Twitter data. Via a radius of 30km around New York, London, Paris, Munich we have collated the number of Tweets and created our New City Landscape Maps.
[Editor's note: Geography of vernacular language in the United States of America. Check out this post about regional names for drainage features like stream, creek, run and more. Thanks Chrys!]
The Dictionary of American Regional English gets ready to close the book on its already 45-year-old project
It’s axiomatic that even on the East Coast long sandwiches go by a host of names: hero (especially New York City), grinder (chiefly in New England), hoagie (mainly in Pennsylvania and New Jersey) and submarine (everywhere). Only if you’re an aficionado of the Dictionary of American Regional English are you likely to know that when kids still play hopscotch, they may call it “potsy” in Manhattan—but it’s “sky blue” in Chicago.
And it’s surprising how many different names Americans have for that strip of ground between the sidewalk and the street: “boulevard,” “grass plot,” “parkway” and “tree bank” are among them. So after a child abductor in the ’90s left a note demanding that ransom be deposited in a trash can “on the devil strip” at an intersection, a forensic linguist used this dictionary to help solve the crime—because the term was common only in a small part of Ohio.
For 45 years, DARE has been documenting America’s geographically variant vocabularies. Despite the conforming effects of air travel, television and the Internet, neither mobility nor media seem to be able to erase regional patois.
[Editor's note: Henri Cartier-Bresson (1908–2004) helped to define photographic modernism starting in the 1930s when he began working for Life and other news "picture" magazines (exhibit at MoMa in New York thru June 28, 2010). He snatched beguiling images from fleeting moments of everyday life. He traveled the whole world over, as this series of maps from Adrian Kitzinger shows. Because he visited some cities more than once, the cartographer employs a clever technique of showing overall trips with colored route lines and visited cities in normal black type. If subsequent visits were made, the city name is underlined in the route color of the 2ndary, tertiary, etc trip. Some indication is also made for the mode of transport. Photo below is from after WWII as a women denounces another for ratting on her to the Nazi secret police during the war.]
Republished from the Museum of Modern Art, New York.
These maps, by Adrian Kitzinger, have been adapted from the maps he made for the detailed chronology of Cartier-Bresson’s travels in the book that accompanies the exhibition. The principal itineraries are named by year and distinguished by color, and are keyed to a descriptive list on each map. Please note that some quite similar colors designate entirely distinct itineraries.
Cartier-Bresson’s travel is rendered as lines (solid by land or sea, dashes by air) following the most probable routes; when a route cannot be reasonably surmised or clearly shown, locales that belong to a single trip share a color code: underscores or colored type. Some more far-flung connections are indicated with dotted arrows. Places Cartier-Bresson visited independently of a recorded itinerary are represented as circles with gray rather than white centers.
[Editor's note: Are increasingly complex graphics (visual confections / data visualizations), aka chart porn & eye/brain candy, necessarily good at conveying essential information to readers? Alberto Cairo says no, see below. I have to wonder if he means just for daily minute-read journalism or for publications that have a tradition of offering readers, say, tear-out map supplements and posters they like to admire and reexamine. This might have been raised by the 2008 box office graphic from the NY Times, implementing a steamgraph, but the general question applies to all infographic professionals. We have awesome new tools and datasets, but we still need to focus on fundamentals, beyond interesting and visually appealing, to consider what as Lee Byron calls the "interplay between considerations of aesthetics and legibility."
A confection is an assembly of many visual events, selected ... from various Streams of Story, then brought together and juxtaposed on the still flatland of paper. By means of a multiplicity of image-events, confections illustrate an argument, present and enforce visual comparisons, combine the real and the imagined, and tell us yet another story.
Tufte actually shows a similar chart to the NYT box office example in the same work from the cover of "Rock 'N' Roll is Here to Pay: The History and Politics of the Music Industry". He says of the Rock and Roll example: "The multiple, parallel flows locate music-makers in two dimensions – linking musical parents and offspring from 1955 to 1974, and listing contemporaries for each year."
But what fundamentals and what audience? A later NY Times graphic on How Different Groups Spend Their Day resolves part of the box office problem with an ability to focus (isolate) parts of the stream into a standard axis chart and thus read and compare quantitatively. Much less complicated, but also on a standard axis: Jackson’s Billboard Rankings Over Time. I don't entirely buy the similar axis baseline argument as I'm a fan of graduated circle maps, but reading them is certainly not for the average reader and must be augmented with summary charting and text.
Alberto Cairo is a former professor at Chapel Hill, where he taught online graphics. Before that he was the succesful graphics director at El Mundo Online. In short: This guy knows what he is talking about, when it comes to both printed and online graphics …
Today Alberto took a critical look at the current data-visualization-trend, which got a huge boost last year, when New York Times took home a gold medal and even the ‘Best of Show’-award for a certain Box Office graphic. Regular readers of this site will remember the discussion we had last year after the awards. Click here to read it again.
Emperor’s new clothes
What Alberto is saying out in the open now, has been floating around for a while. But apparently only a few dare to say that graphics are getting too complicated – for fear of being looked upon as stupid, if they dare challenge such abstract wonders. I can’t help to think of the Emperor’s new clothes, whenever such a situation takes place.
[Editor's note: This series of imaginative geographies from Christoph Niemann’s is playful and builds on the new Google Map symbolization conventions. Niemann's work previously featured here with Coffee Art and I Lego N.Y. Thanks Trevor!]
Republished from New York Times.
March 10, 2010, 8:30 pm
[Editor's note: Op-Art from the New York Times showing who (which states) supports and opposes health care reform grouped by age and income. Data from 2004, so not current but still informative. Thanks Martin!]
Republished from the New York Times. Nov. 18, 2009.
[Editor's note: Carbon dioxide emissions charted by ton, economic sector, and revenue.]
Republished from the New York Times. Dec. 28, 2009.
Emissions Disclosure as a Business Virtue
Cupping their hands near holes drilled for cable routing, workers at the Boeing Company’s four-acre data processing site near Seattle noticed this year that air used to keep the computers cool was seeping through floor openings.
Mindful of the company’s drive to slash electricity consumption by 25 percent, they tucked insulation into holes there and at five similar sites. The resulting savings are projected at $55,000, or some 685,000 kilowatt hours of electricity a year.
Yet Boeing’s goal is not just to save money. The hope is to keep pace with other companies that have joined in a vast global experiment in tracking the carbon dioxide emissions generated by industry.
Boeing and other enterprises are voluntarily doing what some might fiercely resist being forced to do: submitting detailed reports on how much they emit, largely through fossil fuel consumption, to a central clearinghouse.
The information flows to the Carbon Disclosure Project, a small nonprofit organization based in London that sifts through the numbers and generates snapshots by industry sectors in different nations.
By giving enterprises a road map for measuring their emissions and pointing out how they compare with their peers, experts say, the voluntary project is persuading companies to change their energy practices well before many governments step in to regulate emissions.
Scientists estimate that industry and energy providers produce nearly 45 percent of the heat-trapping emissions that contribute to global warming. While some governments are convinced that reining in such pollution is crucial to protecting the atmosphere, a binding global pact is not on the immediate horizon, as negotiations in Copenhagen showed this month.
Until broad regulation is at hand, many investors and company executives say, voluntary reporting programs like the Carbon Disclosure Project may be the best way to leverage market forces for change.
[Editor's note: This series of small choropleth interactive maps from Matthew Ericson and Amanda Cox back on Thanksgiving day show regional patterns of what Americas are eating where. One holiday down, another to go. Thanks Kristin and Martin!]
As cooks turn to the Web for Thanksgiving recipes, the terms they enter into search engines can provide clues to what dishes are being cooked around the nation. On Wednesday on Allrecipes.com, “sweet potato casserole” was by far the most common search term nationwide. It was tops in 36 of the 50 states and easily outpaced the No. 2 entry, “pumpkin pie.” |Related Article »
“Affordable Housing.” The phrase seems plain enough, but it doesn’t always mean what people think it does! It actually has a technical government definition that can determine what gets built and who lives there. Use these tools to answer the all-important question: “Affordable to whom?”
A stop-action animation on the technical definitions of affordable housing — by Rosten Woo and John Mangin of CUP, animator/designer Jeff Lai, and Glen Cummings of MTWTF. Narrated by Lisa Burriss. Sound by Rosten Woo.
