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Corby, Tom
Publisher: MIT Press
Languages: English
Types: Article
Subjects: UOW9
Discussing his recent artworks alongside those by Abigail Reynolds, Lucy Kimbell and Christian Nold, the author examines emerging phenomena in the digital and wider fine arts whereby information visualization practices are approached as creative media. By laying bare points of convergence and divergence between artistic and scientific approaches, the article develops a number of arguments that show how the pictures produced by information visualization may be reframed within wider aesthetic and critical frameworks. Thus the author explores how models of image production derived from processes of scientific inquiry expand possibilities for the visual arts to develop new types of hybrid images that consist of data grounded both in material realities and in symbolic and aesthetic elements.
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    • 1. The term “affect” is complex and is often used in place of “emotion” or “feeling”; when used here it refers to a sensation of embodied intensity generated through an encounter between affecting agencies, i.e. an artwork and audience. Or, as Brian Massumi puts it in his introduction to Deleuze and Guattari's A Thousand Plateaus, rather than a personal emotion, affect is “a prepersonal intensity corresponding to the passage from one experiential state of the body to another”-an embodied condition that exists outside of consciousness. See: G. Deleuze and F. Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, London: The Athlone Press, 1996, p. xvi.
    • 2. B.H. McCormick, T.A. DeFanti, and M.D. Brown (eds.) “Visualization in Scientific Computing: Report of the NSF Advisory Panel on Graphics, Image Processing and Workstations,” Computer Graphics, 21, No. 6, Nov., 1987.
    • 4. S.K. Card, J. Mackinlay & B. Shneiderman (eds.) Readings in Information Visualization: Using Vision to Think, Morgan Kaufmann Publishers: San Francisco, CA, 1999.
    • 5. M. Benedikt, “Information in Space Is Space in Information,” Images from Afar: Scientific Visualization an Anthology, A. Michelsen and F. Stjernfelt (eds.) Akademisk Forlag: Oslo University Press, 1996.
    • 6. I. Kallick-Wakker, “Science Icons: The Visualization of Scientific Truths,” Leonardo, 27, No. 4, 1994, 309-315.
    • 7. Examples of this form of Reinhardt's work are featured on the Silverstein gallery website: “Ad Reinhardt-Art Comics and Satire 1949-1954,” .
    • 8. Lombardi's work can be found at the Pierogi gallery website, .
    • 9. D. Cox, “What Can an Artist Do for Science: 'Cosmic Voyage' IMAX Film,” Art @ Science, C. Sommerer and L. Mignonneau (eds.) Springer-Verlag: New York.
    • 10. See for example Vande Moere's blog: “Info Aesthetics,” .
    • 11. Card et al [4], p. 6.
    • 12. M. Kemp, “From science in art to the art of science,” Nature, 434, Issue 7031, 2005, 308-309.
    • 13. J.J. van Wijk, “The Value of Visualisation,” C. Silva, E. Groeller, & H. Rushmeier (eds.) Proceedings of IEEE Visualization 2005, 2005, 79-86.
    • 14. D. Cox. “Metaphorical Mapping: The Art of Visualisation,” Aesthetic Computing, P.A. Fishwick (ed), Cambridge, Mass: The MIT Press, 2006, 89-114.
    • 15. J. Elkins, “Art History and Images That Are Not Art,” The Art Bulletin, 77, No. 4, 1995, p. 553.
    • 16. More information about Corby and Baily's work can be found at ; documentation of Abigail Reynolds's work can be found at . The version of Cyclone.soc exhibited in The Information was a prototype, one of a series of versions of a project that was developed throughout 2006.
    • 17. L. Manovich, The Anti-Sublime Ideal in Data Art, August 2002, Manovich, (accessed 16 November 2006).
    • 18. Kallick-Wakker, p.309.
    • 19. Further information about Christian Nold and Lucy Kimbell's work can be found respectively at and .
    • 20. C. Nold, “Christian Nold Ittaca project,” Bio Mapping, January 2004, (accessed 12 March 2006).
    • 21. Dr. Andrew Barry is a member of the School of Geography at the Oxford University Centre for the Environment.
    • 23. See Lucy Kimbell's discussion of Pindices in “If Networked Art is the Answer: What Is the Question?” in Network Art: Practices and Positions, T. Corby (ed) London Routledge, 2005, 154-172.
    • 24. F. Jameson, “Cognitive Mapping,” Marxism and the Interpretation of Culture, C. Nelson & L Grossberg (eds.) Urbana and Chicago: University of Illinois Press, 347-357.
    • 25. J. Baudrillard, Simulacra and Simulation (The Body, In Theory: Histories of Cultural Materialism) S. Glaser (Trans.) Ann Arbor: University of Michigan Press, 1994.
    • Manuscript received 3 January 2007.
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