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This book is the
first systematic integration of cognitive and semiotic approaches to
understanding maps as powerful, abstract, and synthetic spatial representations. Presenting a
perspective built on four decades of cartographic research, it explores how maps work at
multiple levels--from the cognitive to the societal--and provides a cohesive picture of how the
many representational choices inherent in mapping interact with the processing of information
and construction of knowledge. Utilizing this complex perspective, the author shows how the
insights derived from a better understanding of maps can be used in future map design.
Although computers now provide the graphic tools to produce maps of similar or better quality
than previous manual techniques, they seldom incorporate the conceptual tools needed to make
informed symbolization and design decisions. The search for these conceptual tools is the basis
for How Maps Work.
Following an introduction that discusses
various approaches to understanding how maps work,
the book explores how meaning is derived from maps. Chapters cover the complex set of
interdependent perceptual and cognitive issues relevant to the way in which individuals retrieve
information and build knowledge from maps. This is followed by a look at the other side of the
representational coin: how maps are imbued with meaning. In this section, a visual semiotics is
developed as a way to describe and formalize the process of cartographic representation. This
formalization is a critical step toward longer-term goals of building expert systems for map
symbolization and design that will free analysts working in interactive visualization environments
from the burden of individually making representational decisions. In the final section, the
cognitive-semiotic framework constructed in the first two sections is used to explore dramatic
new developments in Geographic Visualization (GVIS). Emphasis is on the role of maps, and
other visual spatial representations, as well as components embedded in dynamic interactive
systems for Exploratory Spatial Data Analysis (ESDA). Guidelines are presented for
developing and assessing ESDA and other GVIS tools. The book concludes with a look at
some philosophical and social issues related to the notion of truth in GVIS.
Adapted from: Card, S.K., MacKinlay, J.D., and
Shneiderman, B. (eds.)
(1999) Readings in Information Visualization: Using Vision to Think,
San Francisco, CA: Morgan Kaufmann. (p. 16)
.
Adapted from: Fry, Benjamin Jotham. (2000) Organic
Information
Design. Master's Thesis. Cambridge, MA: Massachusetts Institute of
Technology.
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Nina Kruschwitz
is new to the reflection and product development components of Dialogos,
bringing years of experience from within the field of organizational learning. She has worked in
depth with Art Kleiner, George Roth, Peter Senge, and others, managing Fifth Discipline
Fieldbook projects, Learning Histories, and publishing working papers, such as: “Inventing
Organizations of the 21st Century: Producing Knowledge Through Collaboration.”
Nina lives in the
Boston, MA area. |
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As found on Peter
Durand's website AlphaChimp Studio:
We don't believe
in the old "Sit-N-Get" method involving PowerPoint slides and bullet point
lists. Nature gave us incredible minds and bodies built for movement, creativity, intellectual
rigor, emotional engagement and fun.
We craft our events
and workshops to involve all of these aspects in order to serve the ultimate
needs of the team: to make stuff and make stuff happen. Working from the business goals
backwards, each workshop is designed with the end in mind.
No preformatted
templates, thank you, just informed, innovative interaction.
We work within
a national network of talented facilitators and consultants who specialize in a
diverse set of specialties. Together, we can design an engagement to accomplish your team's
specific goals:
There's a better
way to organize your group's ideas during a meeting other than taking endless
notes on flip charts. It's called graphic facilitation, and it's growing in popularity as a powerful
tool in both the private and public sectors.
As a community
of practice, we only work with graphic facilitators who can do two things
extremely well:
Whether a monthly
meeting, board retreat, industry conference or facilitated workshop, this is a great way to make
your gathering more effective and much more memorable. |
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Practitioners in
the field report that the condition we know in individual practice as
sacred space also exists for groups. Sacred space in groups seems to be the salient
factor for the emergence of collective intelligence. Some people are called to the
experience of sacred space in groups from an inner intuitive knowing that it is there;
others, not infrequently, find themselves within sacred space, although they were
previously unaware of it and even skeptical of its existence. For most people, once
they have experienced it, however they have experienced it, replicating sacred space in
groups becomes of primary significance.
- "Wholeness" is the word which
best describes what people experience in sacred
space, a wholeness that can never be fully known. Wholeness appears to human beings
to be without boundaries - something above and beyond the human mind and
experience. Thus groups in sacred space can be present to wholeness, but can neither
create it nor assemble it.
- The knowledge and capacity, or collective
intelligence, that becomes available to
groups within sacred space is perceived as being far more than the sum of the
knowledge and capacity of the individual participants.
- Sacred space in groups is experienced as
both incredibly pleasurable, bordering on the
ecstatic, and the cause of considerable discomfort and fear. Wholeness, like God, is a
great attractor, but also potentially terrifying. Furthermore, the experience of collective
intelligence in sacred space, though wondrous, is also cause for concern among some
practitioners - a concern that such enormous unleashed energy can be used for
negative purposes.
- Since the manifestation of collective intelligence
is the desired outcome, a key task for
individuals within sacred space is, in the words of Jacob Needleman, to achieve the
"willingness and capacity to separate oneself from one's thoughts and freely give
attention to the other," thus achieving a state of relationship between participants that
transcends ego and conflict. We consider this capacity to be what can be described as
"spiritual capacity."
- The experience of the emergence of collective
intelligence within sacred space is
paradoxically heightened in direct proportion to the depth of appreciation individuals
hold for each other's unique gifts and points of view. Diversity, then, rather than being
an obstacle to be overcome, is viewed as and believed to be the ground of the
experience itself. Inclusivity, equality and self-organization are natural outcomes.
- The overarching spiritual task of groups
in sacred space seems to be to midwife a new
social/spiritual order of an evolutionary magnitude. To "midwife" is to assist something
that is emerging of its own power.
- Learning and doing within sacred space
require the whole, authentic person - the
integration of body, mind, heart and soul. Multiple modalities of learning are recognized
and welcomed as are multiple modes of activity, particularly including those which are
organic and non-linear.
- People come to their interest in sacred
space in groups along many different paths and
through many different doors. What is common about their interest in cultivating
capacity for sacred space in groups is the experience of the struggle with and/or
realization that people must and are able to work together in qualitatively different and
better ways. While many people continue to work to change their organizations from
within, the revelation that "something" much change in the way we work together often
results in people moving out of existing structures.
- The tools that people have developed and
use to help create conditions to enable the
sacred space in groups primarily involve generating expanded awareness and authentic
expression. These are believed to enable the kind of presence that allows sacred space
to be experienced, which in turn evokes and sustains collective intelligence.
In the words of
David LaChapelle, "By cultivating the awareness tools necessary to validate
and register opened fields, a group can begin to mature the ability to recognize the presence of
wisdom and ground this wisdom through conscious expression and perceptual acuity." |
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1997-2003
Dialogos
LLC : content integration
and packaging, including body of knowledge assembly and
distribution
1996-2003
1997-1998
MG Taylor's knOwhere Store
: merchandise development for tools in the knowledge economy,
on strategy and implementation team for store expansion to east and west coasts
1995-1998
MG
Taylor Corp : systems
integrator and knowledgeworker for DesignShops in areas of
graphics, production, video, documentation, and work products
1993-1995
Consensus Development: office manager for software start-up specializing in groupware and
collaborative technologies
1992-1994
Oval Office of
Design: with Douglas Burnham
, merging art & architecture on custom design
projects
1990-1994
Rome, Sicily, San
Francisco, Berkeley: drawing and photocopy exchange
1984-1989
Cornell University:
BFA, BA: painting, modern art history |
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http://www.cdt.luth.se/%7Epelle/smd045/lectures/index.shtml
With respect to
the cognitive theory seen at the beginning of this course, the following concept
are involved in visualization:
-
Attention
- Abstraction
- Affordances
Attention
Learning complex-query
languages or complex information coding rules is distracting, and
prevents users to focus on their information needs.
Users need to have:
-
simple menus;
- direct-manipulation;
- simple visual coding rules;
- easily understandable metaphor
- appealing appearance
- meaningful animation
- sense of location/position
Abstraction
Abstract-information
(statistical data, etc...) visualization reveals patterns, gaps, clusters or
outliers.
Affordances
Affordances must
be obvious to the users through the use of:
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Is concept mapping
"science" or "art"? Can we legitimately claim that concept maps represent
reality, or are they primarily suggestive devices which might stimulate new ways to look at our
experiences? Here, the scientific side of concept mapping is viewed as "soft science" and
the
artistic one as "hard art" to imply that the process has some qualities of both, but probably
does
not fall exclusively within either's domain. In the spirit of hard art, a "gallery" of final
concept
maps from twenty projects is presented, partly to illustrate more examples of the process when
used in a variety of subject areas and for different purposes, and partly for their aesthetic value
alone. In the spirit of soft science, two major issues are considered. First, the evidence for the
validity and reliability of concept mapping is introduced, along with some suggestions for further
research which might be undertaken to examine those characteristics. Second, the role of
concept mapping is discussed, with special emphasis on its use in a pattern matching
framework. |
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1. Art | Fitting Together
