Engaged Storytelling with Information Visualization
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The document discusses techniques for creating engaging data stories through storytelling and information visualization, emphasizing the importance of visual tools in effectively communicating data. It outlines methods for presenter-driven and audience-driven narratives, including the use of annotations, animations, and interactivity to enhance audience engagement. Key strategies involve personalizing content, enabling audience input, and allowing for comparisons in a way that makes data relatable and understandable.
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Engaged Storytelling with Information Visualization
- 1. ENGAGED STORYTELLING WITH INFORMATION VISUALIZATION Professor Kristen Sosulski, Ed.D NYU Stern School of Business @ sosulski
- 2. Story + Visuals = Engagement
- 3. STORIES Edward Segel and Jeffrey Heer, 2010
- 4. Presenter driven stories • Linear ordering of content • Prescribed message
- 5. Baseline Engagement Techniques • Build on prior knowledge • Ask questions • Seek audience input • Personalize it! - Change from third person to second person.
- 7. How can we use visuals to tell engaging data stories?
- 8. A picture is worth a thousand words… Creative Commons
- 9. Not all pictures are…. • Readable • Interpretable • Meaningful • Relevant Google Image Search
- 10. However, visuals are an efficient tool.
- 11. We know visualizations can be a powerful communications tool in data driven stories… How do we get there?
- 12. Identify the takeaway Contextualize findings Present the key numbers Baseline Visualization Techniques Kristen Sosulski, 2016
- 13. To whom are we communicating? Humans
- 15. Human information processing system Words Pictures Ears Eyes Sounds Images Verbal Model Pictorial Model Prior knowledge Multimedia presentation Sensory memory Working memory Long-term memory Richard Mayer
- 16. But, it is a translation process Real world Data Shapes and colors Nathan Yau
- 17. Representing data through shape, size, and color
- 18. Techniques for using visuals in presenter driven stories • Annotation highlight what’s important • Animation guide the pathway
- 19. Annotations Reserve the use of pre-attentive attributes as cues for your audience. COLOR
- 20. Annotations Reserve the use of pre-attentive attributes as cues for your audience. FORM
- 21. Annotations Reserve the use of pre-attentive attributes as cues for your audience. MOVEMENT
- 22. Annotations Reserve the use of pre-attentive attributes as cues for your audience. SPATIAL POSITION
- 23. Annotations Highlight a data point using a pre-attentive attribute.
- 24. Annotations Avoid highlighting every data point.
- 25. Animation Progressively reveal content PANNING AND ZOOMING
- 26. Animation Show time series data. TEXT AND SIZE
- 27. Animation Mark as specific data point and see how it changes over time HIGHLIGHT AND POSITION
- 28. What if there is no presenter? What is the role of the audience?
- 29. Audience driven stories • No prescribed ordering of content • Little to no messaging • Free interactivity
- 30. Baseline Engagement Techniques • Enable the audience to build their own narrative • Provide locus of control in navigation • Seek inputs • Allow for comparisons • Personalize it! - Change from third person to second person.
- 31. Techniques for using visuals in audience driven stories Interactivity audience is the creator of the narrative. Interface Audience controls the narrative The visualization is now the interface.
- 32. The New York Times
- 33. Slider Input field Highlight Filter The New York Times
- 34. Interface + Interactivity • Locus of control – Navigation – Details on demand – Non linear structure – Means for exploration • Inputs for individualization and personalization – Audience selected parameters – Filtering – Custom input • Comparison for context
- 36. STORIES ENGAGING
- 37. AUDIENCE ENGAGED
- 38. Interested in designing engaging visuals? Design for Data Visualization live online seminar Contact [email protected]
- 39. Q & A
- 40. Thank You! Prof. Kristen Sosulski @sosulski | [email protected]
Editor's Notes
- #4: Premise for stories:
- #5: Locus of control
- #15: DC: Humans possess separate channels for processing visual and auditory information LC Humans are limited in the amount of information that they can process in each channel at one time AP Humans engage in active learning by attending to relevant incoming information, organizing selected information into coherent mental representations, and integrating mental representations with other knowledge
- #16: This figure presents a cognitive model of multimedia learning intended to represent the human information processing system. The boxes represent memory stores, including sensory memory, working memory, and long term memory. Pictures and words come in form the outside world as a multimedia presentation and enter sensory memory through the eyes and ears. Sensory memory allows for the pictures and printed text to be held as exact visual images for a very brief time period in visual sensory memory. Arrow from pictures to eyes corresponds to a picture being registered in the eyes; the arrow from Words to Ears corresponds to spoken text being registered in the ears; the arrow from words to eyes corresponds to printed text being registered in the eyes. The central work of multimedia learning takes place in working memory. Working memory is used for temporarily holding and manipulating knowledge in active consciousness. For example, this presentation, you are able to hold some of the words I'm saying at one time or some of the boxes and arrows in your mind at one time. This kind of processing , where you are consciously aware, takes place in your working memory. The left side of the box labeled Working Memory represents the raw material that comes into working memory - visual images of pictures and sound images of words - so it is based on the two sensory modalities, called visual and auditory. The right side of the working memory box represents the knowledge constructed in working memory - visual and verbal mental models and links between them, this is based on the two representation modes, Mayer refers to as pictorial and verbal.