Beyond data visualization: Full sensory data experience

The process of human construction, which is transferred from the Twig public number to the ideal experimental plot, is extremely complex. In fact, we are facing unprecedented complexity every moment. When the information of the Times is unbearable, human beings will evolve in this trend of the times. Our ability to deal with complex problems is the result of unity of our senses; each of the senses works together, the brain gathers the pieces of information gathered to help us understand the complex things that are going on endlessly.

Now, in the face of a complex flow of information, the new digital perception of the form is a pluralistic fusion. But when we collect data through Non-human perceptual methods (such as digital sensors), the process is as complex as our body, but we usually output it as a single sensation: vision.

The world-wide data presentation is based on visual rules. Although we occasionally see a set of data plotted by a sonic wave, we still find good reasons to visualize it. Visualization tools that simplify and render complex data help us to identify data trends efficiently and easily.

However, while we are familiar with the benefits of data visualization, it relies on the limitations of understanding at a single level of meaning. For example, when our brains are high power connections to input signals and process image information, information is stored in fast-fading memory areas. And so on, the newly entered part of the visual memory is constantly being overwritten. The memory of our olfactory process is the opposite. The operation and storage of olfactory signals are synchronized with the long-term memory. This is why we often say that we cannot forget the taste, and we often recall past memories through smell.

This diverse sensory experience raises the question: Why not develop more effective secondary sensory data? Connecting sound, smell, taste, or touch with vision expands the intensity of the data experience, and it is possible to create more subtle differences than any single mode of effect.

Just as vision gives us color, shape, size, brightness and space, our other senses also provide an array of data variables that we may represent different aspects. such as sound, tone, tone, volume, frequency and rhythm. Touch has texture, weight, pressure, temperature, and importance.

There is a close connection between smell and taste senses, and even if the two are mixed together, we can still separate the taste and smell.

The following example takes us to a glimpse of the emerging sensory data landscape.

Screaming Volcano

Alaska scientists are recording the volcano before the eruption. Monitoring volcanic activity through subtle physical vibrations of daily seismic activity. By listening, scientists found a unique sound model before the eruption. The signal bursts out after a gradual drum sound that screams when the teapot is boiling. Although the researchers do not fully understand where the source is, the speed or slowness of the sound rhythm indicates a volcanic eruption.

Daily Records

Using geographic information, Brian House created a vinyl album to express all the places he had visited in the past year with hearing. Each place in the city is annotated with a scale, and each city is expressed in tones. When the record was put on the jukebox, the phonograph was rotated 24 hours, to the place he had visited that day. As the player rotates the sound, the pattern of behavioral activity begins to appear. Working days, weekends, vacations, and rest days can be distinguished from the sound. Aside from the relationship between geography and map, we try to understand geography by auditory mode, which may have been obscured by traditional patterns of visualization.

Phantom food

The Phantom Food Project was launched by artist Miriam Simun and Miriam Songster, designed to produce a familiar food odor, complemented by tasteless food, to simulate the eating experience. Through the renewed taste and chewing experience, even in the absence of food, people's minds create a sense of taste. Taste, texture and smell can map out a unique data point, so let them interact with each other, it will produce a lot of unprecedented multimode experience.

Olfactory record

Artist Amy Radcliffe is looking for a olfactory recording device that can link feelings to smells and to capture and reproduce the odor simulation system. While this is a risky device, its principle points to the power of capturing and reproducing odors. Given our close relationship with our sense of smell, capturing and reproducing the scent of things and the environment can be extremely effective in creating useful data experiences.

When we enter the field of non visual representation data, it is important to remember that the goal is not just to find the best alternative visualization or supplemental visualization. Instead, our vision should be to experience richer data. This means that anyone can collect data, apply it to different perceptual patterns, explore numbers, and publish new insights.

Understanding the data will see how people will evolve in the future. However, in terms of our ability to understand and use data (including what we now consider to be meaningful) we are only touching the surface. The limitations of past visual visualization have given us new opportunities to discover and communicate ideas from the data.

This paper is based on the ideal experimental plot of the twig public number, and the author translates it from frog design

(Responsible editor: Mengyishan)