Information Design

Este artigo pretende instigar reflexões acerca do ensino de design da informação na atualidade, tendocomo principal referencial teórico os questionamentos expostos pelo filósofo sul-coreano Byung-Chul Han.Abordando o esgotamento da sociedade do século XXI, bem como a temporalidade do processo decriação digital ao qual os alunos e alunas estão submetidos, este trabalho tece conexões entre as ideiasde Han e de teóricos do campo do design — ou próximos a ele —, a fim de se pensar o estímulo aoequilíbrio entre as habilidades técnicas e o pensamento visual destes estudantes. Nesse sentido, apontatambém para a necessidade de se reconsiderar os processos pedagógicos e avaliativos, enraizados nasnoções de desempenho, urgência, controle e rigidez, com o intuito de conduzir a outras relações deensino-aprendizagem e possibilitar — através da priorização da subjetividade, da observação minuciosada informação e da criação lenta — a produção de novas mensagens e significados.

This article intends to instigate reflections about the teaching of information design today, having as main theoretical reference the questions raised by the South Korean philosopher Byung-Chul Han. Addressing the exhaustion of 21st century society, as well as the temporality of the digital creation process to which students are subjected, this work weaves connections between the ideas of Han and theorists in the field of design — or close to him —, in order to think about stimulating the balance between the technical skills and the visual thinking of these students in pedagogical practices. In this sense, it also points to the need to reconsider the pedagogical and evaluative processes, rooted in the notions of performance, urgency, control and rigidity, in order to lead to other teaching-learning relationships and to enable — through the prioritization of subjectivity, of minute observation of information and slow creation — the production of new messages and meanings.

The entries in this volume introduce technical communicators to foundational practices, current approaches, and emerging trends in translation and localization. To do so, the editors of this collection purposefully recruited authors from the translation and localization industries. All of these contributors, moreover, have previous experiences, stretching back decades, working with technical communicators on international projects. Each individual was asked to contribute a chapter that explained, to a non-translator/non-localizer, what a particular translation or localization practice was and how it worked. Contributors were also asked to draw from their prior experiences working with technical communicators and focus on the question, “Based on your prior experiences working with technical communicators, what do they need to know to work effectively with translators and localizers?” The objective underlying this approach was to provide technical communicators with the understanding of translation and localization needed to work effectively with professionals in these fields.

informação e tecnologia, design da informação, e-saúde O objetivo deste trabalho é investigar aspectos cognitivos de Design da Informação que devem ser considerados no projeto e concepção de ambientes digitais e-Saúde, levando em consideração os graus de literacia em saúde das comunidades a quem se destinam. Assim, as características da e-Saúde, as relações entre saúde e tecnologia e os estudos em Design da Informação voltados à temática são relacionados, em convergência com a Ciência da Informação. O fornecimento de informação em saúde, tanto em meios analógicos quanto digitais, não significa necessariamente uma mudança nos hábitos de autocuidado e prevenção, devido aos diferentes graus de literacia em saúde das pessoas que as acessam. Há aspectos e características específicas na disponibilização de informações em saúde na Web que devem ser levados em consideração no Design de ambientes e-Saúde. Esse tipo de informação deve ser apresentado e representado de acordo com critérios e diretrizes especificamente voltados a esses ambientes, que são provenientes de estudos que consideram a carga cognitiva e o grau de literacia em saúde necessários para o processamento de determinados formatos de informação no processo comunicacional nesse contexto. Determinados fatores, como a ausência de jargões e formato do texto, emprego de recursos gráficos na apresentação e representação da informação e modalidades audiovisuais exigem menor esforço cognitivo no processamento da informação, sendo, assim, mais adequados a pessoas com diferentes níveis de literacia em saúde. Assim, apresenta-se como resultado um mapa conceitual com recomendações voltadas aos conteúdos textuais e gráficos para o Design de Informação de ambientes e-Saúde.

The​ ​authors​ ​provide​ ​a​ ​scholarly​ ​definition​ ​for​ ​metaphor-rich,​ ​story-driven​ ​‘narrative visualization’.​ ​They​ ​argue​ ​that​ ​metaphors​ ​create​ ​a​ ​rich​ ​and​ ​emotionally​ ​resonant​ ​set of​ ​associations​ ​that​ ​frame​ ​the​ ​narrative​ ​and​ ​effectively​ ​support​ ​‘System​ ​1’​ ​(or​ ​intuition -based)​ ​thinking​ ​and​ ​decision-making​ ​that​ ​Kahneman​ ​and​ ​others​ ​have​ ​identified​ ​as the​ ​primary​ ​drivers​ ​of​ ​financial​ ​behaviour.​ ​The​ ​authors​ ​then​ ​apply​ ​these​ ​observations to​ ​a​ ​case​ ​study​ ​in​ ​which​ ​they​ ​analyze​ ​student​ ​work​ ​on​ ​a​ ​financial​ ​literacy​ ​design project.​ ​They​ ​discuss​ ​best​ ​practices​ ​for​ ​teaching​ ​narrative​ ​visualization​ ​and​ ​argue for​ ​its​ ​relevance​ ​in​ ​a​ ​contemporary​ ​design​ ​education​ ​-​ ​especially​ ​its​ ​capacity​ ​to represent​ ​and​ ​reflectively​ ​explore​ ​complex​ ​financial​ ​and​ ​other​ ​concepts.

Providing accessible Web pages is becoming a key concern for many providers of electronic information. There are many people who find accessing Web pages difficult and among these, vision impaired users are perhaps the group with the greatest needs. The Web is a strong visual environment and most designers use this aspect of the environment as a critical element in their interface and information design. Such strategies, while providing many opportunities for mainstream Web users, provide limiting and impeding outcomes for visually impaired Web users. There are a number of accessibility standards that now exist to inform and guide the designers of Web pages but little is known about precisely how best these standards can be applied and achieved. This paper will describe a study undertaken in the Australian context that sought to explore how the goals of accessibility influenced the design process and the design outcomes of an online learning environment designed to cater for visually impaired users. It is a study of the TruVision Project, a Web-based learning setting, designed to aid visually impaired users to gain an elementary qualification in Information Technology.

Presentation in 2020 SEGD Wayfinding + Placemaking. In response to the global crises currently underway, designers from Africa, Asia, Europe, and South America address what they are seeing in their home states, and what they are doing to help people feel safe, comfortable, confident, and welcome in public places. Discussions in best practices in signage, environments, digital platforms, icon making, and communication bring new paradigms and behaviors.

Participatory design e the direct involvement of end-users and other stakeholders in design e has become a standard design paradigm in informatics, that is, in developing information systems, applications, infrastructures, and associated work practices. Community informatics, which addresses the impacts and utilisation of information technology to facilitate community life, is a challenging, but important domain for further developing participatory design. Making use: scenario-based design of humanecomputer interactions MIT Press, Cambridge, MA Carroll, J M (2005) The Blacksburg electronic village: a study in community computing, in P van den Besselaar and S Kiozumi (eds) Digital cities 3: information technologies for social capital.

Open card sorting is used by information architects to gather insights from users to incorporate feedback into an information architecture. In theory, it is one of the more inexpensive, user-centered design methods available to practitioners, but hidden costs make it less likely to be conducted properly and affect the quality of results produced. The following proposes a new card sorting method called the Modified-Delphi card sort to replace the Open card sort. The Modified-Delphi card sort is based on a well-known forecasting technique called the Delphi method. Instead of producing individual models that are then analyzed as a whole, participants work with a single model that is proposed and modified throughout the study. The Modified-Delphi card sorting method produces more useful results to aid in the design of an information architecture than the Open card sorting method.

Model-driven development of user interfaces has become increasingly powerful in recent years. Unfortunately, model-driven approaches have the inherent limitation that they cannot handle the informal nature of some of the artifacts used in truly multidisciplinary user interface development such as storyboards, sketches, scenarios and personas. In this chapter, we present an approach and tool support for multidisciplinary user interface development bridging informal and formal artifacts in the design and development process. Key features of the approach are the usage of annotated storyboards, which can be connected to other models through an underlying meta-model, and cross-toolkit design support based on an abstract user interface model. The last few years, model-driven design of User Interfaces (UIs) is receiving an increasing amount of attention in the computer science and software engineering community. Model driven UI design can offer benefits in terms of quality, traceability, efficiency and consistency. However, this discipline has not been widely adopted

This PhD thesis explored the experiences of children whose parent had cancer and their information needs and behaviour to cope with the challenges they faced as dependent children and care-givers. The aim of the thesis was to understand children’s information experience including their perception of cancer and information culture; information needs, information seeking behaviour, barriers and enablers.

The research used a six-stage process. This study was informed by an extensive literature review and discussions with cancer specialists, psychologists and researchers from United Kingdom, United States, Australia and Malaysia. This study used a three-cycle, eight-step process of Participative Action Research (PAR) with data on the experiences of ten Malay families; ten breast cancer patients and 22 dependent children.

Three instruments were developed for this thesis. First was the Inquiry to Participate Form (InqFE-v.04 and InqFBM-v.02), an instrument to help in selecting potential participants who had dependent children and were willing to participate. The second instrument was a set of three questions that were opened-ended and formed a line of inquiry to obtain children’s cancer experience and information needs. Drawing as a communication and narrative tool was used to encourage children’s responses. The third instrument was a 15-question questionnaire (CQ1) to understand children’s experience and preference in obtaining information. All instruments were translated into Bahasa Malaysia for use in Malaysia.

A total of 205 respondents were collected from the selection process from activities held at the National Cancer Society Malaysia. A total of 30 families volunteered to participate, however, only ten families could commit to the study.

It was found that cancer affected parenting abilities and the challenging experiences identified that a lack of culturally relevant information and the shift in caregiving responsibilities to dependent children necessitated a more assessable, supportive and sensitive information system.

It was also found that children’s understanding of cancer was influenced by their experiences and observations, many of which resulted in misconceptions about cancer, its causes, treatment and preventative measures. It seemed that children participant’s reaction to a health situation triggered their information behaviour. Children had more dimensions of concern and their cancer experience highlighted the myriad challenges they faced. The affects of cancer to children for this ethnic group were not previously documented and an assessment found that the burden of caregiving and the consequences of a lack of information were greater than anticipated. Children’s experiences identified that a lack of children-centric information about the affect of cancer to them and, parental expectations in the face of illness necessitated a more assessable, attractive and sensitive information system.

A synthesis of the data contributed to the development of a “Children’s Reactive Information Seeking Behaviour – An Integrated Model” that seeks to explain the relationship between children participants’ reaction to a health situation and the subsequent processes they undergo to resolve the their state of information need.

Concentrating Solar Power (CSP) plants are a promising technology of renewable energy production, as witnessed by the increasing public and private investments during the last decade. The assessment of the associated risks of business interruption (loss of production) and loss of assets due to the occurrence of undesired internal or external events, such as failures of components, unfavorable environmental conditions, etc., brings added values by informing design modifications and contributing to production assurance, for rational Company investments in these environmentally sustainable power plants. This work presents and applies a methodology for assessing the risks associated to a CSP of innovative design. The methodology is derived from traditional system risk analysis, specifically focused only on the economic consequences of the internal events of failure behavior of components. The innovation in the design considered is particularly aimed at augmenting the CSP intrinsic capability of being equipped with thermal storage systems by the introduction of a molten salt mixture as heat transfer fluid. This technology presents evident advantages in terms of system simplification and reduction of production costs but on the other hand introduces a risk factor with regards to the solidification of the salt mixture that occurs at about 240 C.

Tradicionalmente, el Diseño ha sido una disciplina directamente relacionada con el aspecto meramente estético. Tan sólo alguna de sus especialidades, como el Diseño Gráfico, se ha asociado a la Comunicación Visual, y en el terreno periodístico se ha tratado como un complemento de la información y un procedimiento secundario en la elaboración de noticias, reportajes y otros contenidos. Esta disociación entre Diseño e Información no tiene sentido y consideramos que limita el poder comunicativo de ambas materias. Son igual de importantes el «qué» y el «cómo» en la elaboración de los mensajes de carácter informativo. Del mismo modo, son tan importantes los redactores como los diseñadores (frecuentemente conocidos en los medios impresos como maquetadores). En definitiva, forma y contenido están en el mismo nivel y deben ser complementarios. El objetivo principal de este capítulo es destacar la intensa relación existente entre Periodismo y Diseño y proporcionar a los estudiantes más herramientas que potencien su capacidad narrativa e informativa. Conocer estos puntos que los unen hace que los estudiantes de Periodismo pierdan la reticencia inicial a adentrarse en el Diseño porque consideran erróneamente que para diseñar hace falta dibujar.

Findings from Suzanie Adina MAT SAAT’s PhD research at Loughborough University that explored the experiences of Malay children whose parent has cancer and their information needs and behaviour to cope with the challenges they faced as dependent children and care-givers.

The field of CSCW research emerged with the development of distributed computing systems and attempts to understand the socially organized ('collaborative' or 'cooperative') nature of work in order to embed such systems in the workplace. As a field of interdisciplinary inquiry CSCW was motivated by technological developments and the need to understand the particular contexts within which those developments were intended to resonate. In other words, it is no mere accident that CSCW took work as its topic and resourcethe historical nature of IT research from which the field emerged meant that for all practical purposes it could not be otherwise. Yet times change. IT research moves on. Today mobile, ambient, pervasive, ubiquitous, mixed reality and wearable computing, et cetera, are of fundamental concern to the contemporary computing research community. Furthermore, these developments are accompanied by a movement away from the workplace to focus on diverse settings in everyday life: homes, games, museums, photography, tourism, performances, indeed diverse bodies of people and pursuits that generally fall under the conceptual rubric of the 'ludic'. Accompanying this shift away from work is a call for new approaches and concepts that will enable researchers to better understand the ludic and inform design appropriately. In this paper we seek to address the boundaries of CSCW and the ability of CSCW to respond to contemporary research agendas. We present an ethnomethodological study of a locationbased mixed reality game to demonstrate the continued relevance of CSCW approaches and concepts to contemporary agendas in IT research.

Medical device labeling consists of directions on how to use and care for medical devices as well as information necessary for ensuring users' understanding and safety, including information about risks, precautions, and potential adverse reactions. This chapter provides guidance to designers for their decisions regarding positioning, formatting, and design- ing of labels and markings for controls, displays, panels, and associated equipment. The information presented here is derived from legal requirements, human factors research, and existing practices.

The aim of this article is to evaluate and define the terms infographics and diagram in news design. To this end, we analyse a set of terminological traditions that show the recent entry of the subject in the academic field. By discussing how journalistic Infographics has been conceptualized, we attempt to situate the term in the field of information design.

Esse artigo pretende avaliar e definir os termos diagrama e infografia em design jornalístico. Para tanto, tratamos dos diferentes pontos de vista sobre o assunto a partir da análise de um conjunto de tradições terminológicas existentes, que demonstram a entrada recente do assunto no campo acadêmico. Procuramos discutir como Infografia Jornalística tem sido conceituada, procurando situar o termo nos estudos no campo do Design da Informação.

visualização de dados, infografia, metáfora visual, linguagem gráfica, visualização de informação Neste artigo, abordaremos metáforas visuais utilizadas na visualização de dados da infografia do célebre designer Nigel Holmes. Isto foi feito mediante o diálogo com a linguística cognitiva e a retórica visual, pela ótica da teoria de design da informação. Para tanto, nossa abordagem é embasada na teoria das metáforas cognitivas, marcadas pelos estudos de Lakoff e Johnson (1980), e a tradição de estudos de figuras de linguagem visual. Nesta análise utilizamos uma taxonomia de figuras de linguagem pictóricas utilizadas em gráficos estatísticos (Lima, 2018). Ao analisarmos as metáforas pictóricas utilizadas por Holmes, observamos que este designer tem a tendência a sobrepor elementos pictóricos a elementos esquemáticos em seus gráficos estatísticos. Nós cunhamos esta mescla de modalidades gráficas de gráficos pictórico-esquemáticos. Este uso de elementos pictóricos, muitas vezes, humorísticos sobrepostos a dados numéricos precisos foi duramente combatida por teóricos do design da informação como Edward Tufte, na década de 1980. Estes elementos pictóricos foram chamados de chartjunk. Este termo tem servido como uma crítica à elementos visuais consideradas supérfluos em nome de uma abordagem mais neutra na infografia e visualização de dados. No entanto, procuramos entender a escolha do uso de metáforas visuais por Holmes como uma abordagem que não se limita a uma suposta neutralidade de linguagem gráfica.

O ColorblinDesign Project é uma iniciativa originada a partir de estudos no Mestrado em Design da UFPR e que tem como objetivo a divulgação de projetos voltados ao público daltônico, em vista que, a cor é uma ferramenta bastante utilizada por esta área do design. Sendo assim, este artigo buscou entender as relações de daltônicos e projetistas com materiais criados com base na cor, através de um levantamento com designers sobre seu planejamento de cores e com daltônicos sobre suas percepções em representações cromáticas nos materiais. Ao final, percebeu-se uma lacuna entre a criação de materiais de design e as necessidades dos usuários daltônicos.

Borrowing from film and filmmaking styles, techniques and devices that manipulate spectators ’ attention and experience, this paper proposes an approach to inform design of games and gameplay to manipulate player’s focus of attention and encourage contemplation – in design features, characters, story elements, etc. or even break the player’s engaged attention in the game/virtual world altogether – to provide meaning, experience and opportunities for learning. Focusing on film styles alternative to the continuity style of Hollywood filmmaking, we discuss examples of design for contemplative gameplay in game-based learning environments/serious games, machinima and augmented and mixed reality games in previous, current and future projects. We propose that one goal of game design is to establish a rhythm between contemplation and engagement, and the appropriate rhythm is determined largely by a game’s genre, platform and/or narrative.

Infographics have been proved as one of the most efficient visual tools to convey messages in a variety of applications and contexts. From road signage to data visualization and education, infographic designers manage to give a visual explanation for less or more complex concepts through a decreased use of detail, visual elements and text. Infographics can be designed in more than one types but static and animated types are the most frequently used. Whether the two types mentioned are equally effective in achieving a learning outcome, is still a subject of research. Studies that have compared static and animated infographics give different findings, preventing a secure conclusion for both of them. In addition to the above infographics have been used as visual rhetorical figures for creating meaning that persuade and lead to conclusions, perceptions, and emotions that could, in some cases, have a behavioral impact.The prementioned use of infographics as a means of knowledge transfer ...

Some important questions The main purpose of this paper is to provide some pointers to critical debates about the practice and purpose of information design. The title of this paper suggests a simple truth: if we use better information presentation methods we will satisfy consumers. But if we look behind the title, as it were, we find a number of important questions. What methods can we use to design better information presentation? What do we mean by better? In what sense should we understand this idea of consumer satisfaction? And is the category of 'consumers' sufficient to characterize those who use information? I would like to discuss these fundamental issues in an attempt to develop a deeper and more critical dialogue about our practice of information design. I would also like to bring into this dialogue an underlying concern for the moral-aesthetic dimension of information design. I am prompted to do so by a recent debate among information designers which, in my view, creates a false dichotomy between the performance of a design on the one hand, and its look and feel on the other. This false dichotomy has been used to argue that performance or usability is not concerned with aesthetics-making objects appealing and pleasant-and is only concerned with utilitarian measurement of such things as error rates and comprehension (Stiff, 1995). This paper is to some extent an attempt to lift the debate beyond this false dichotomy, though at first it may not seem obvious why I have chosen to do so by linking the aesthetic

This article reports on the work of Communication Research Institute (CRI), an international research center specializing in communication and information design. With the support of government, regulators , industry bodies, and business—and with the participation of people and their advocates—CRI has worked on over 200 public document design projects since it began as a small unit in 1985. CRI investigates practical methods and achievable standards for designing digital and paper public documents, including forms; workplace procedural notices; bills, letters, and emails sent by organizations; labels and instructions that accompany products and services; and legal and financial documents and contracts. CRI has written model grammars for the document types it designs, and the cumulative data from CRI projects has led to a set of systematic methods for designing public-use documents to a high standard. Through research, design, publishing, and advocacy, CRI works to measurably improve the ordinary documents we all have to use.

Dissertation project - Valencia Legible City, A wayfinding study by Francesca Danesi
Eva Alvarez Isidro - Professor Tutor - UPV Universidad Politecnica de Valencia

Dissertation developed during my interniship in CItyID a Bristol based studio. This project has been submitted as part of the ReCity Erasmus Mundus Master Course in City Regeneration. Università degli studi Mediterranea di Reggio Calabria, Ecole Nationale Supérieure d’Architecture de Paris La Villette, Universitat Politècnica de Valencia

Addressing data visualization challenges typically involves applying lessons from visualization theory to inform design and implementation approaches. This process is shaped to a large extent by the availability of tools that are aimed at enabling visualization designers to focus on visualization design rather than on low-level software engineering. Recently, such tools have become powerful enough to be used effectively. We discuss the ideation process informing our design approach and describe the use of Macromedia Flash MX 2004 for the rapid prototyping of a gaze data visualization tool. We highlight selected gaze data visualization ideas to illustrate the most innovative aspects of our design. In particular, we explain our strategy to reveal the underlying mechanisms that produce the summarizing visual constructs and why this is important. We introduce a new technique for visualizing gaze data for dynamic stimuli. The novelty of this approach is that it avoids the traditional frame-by-frame analyses typically carried out for such stimuli.

This paper describes the interface design of our AeSon (Aesthetic Sonification) Toolkit motivated by user-centred customisation of the aesthetic representation and scope of the data. The interface design is developed from 3 premises that distinguish our approach from more ubiquitous sonification methodologies. Firstly, we prioritise interaction both from the perspective of changing scale, scope and presentation of the data and the user's ability to reconfigure spatial panning, modality, pitch distribution, critical thresholds and granularity of data examined. The user, for the majority of parameters, determines their own listening experience for real-time data sonification, even to the extent that the interface can be used for live data-driven performance, as well as traditional information analysis and examination. Secondly, we have explored the theories of Tufte, Fry and other visualization and information design experts to find ways in which principles that are successful in ...

This book chapter is based on a lecture given at the Museum of Architecture and Design in Ljubljana (www.mao.si). It summarises my view of information design's place on the world, including its relationship with graphic design, and reflects on the stark contrast between its significance as an enabler of human society, and its relative invisibility in design education and practice.

Este artigo buscou compreender qual a preocupação dos designers com o uso adequado da cor ao longo do processo de design, levando em consideração soluções de projetos voltadas a daltônicos e se esta condição é realmente pensada na hora de projetar. Para isso realizou-se uma pesquisa on-line com projetistas com no mínimo um ano de experiência para descobrir suas técnicas de criação e seu interesse em projetar para todos. Ao final, percebeu-se que designers não possuem costume de projetar para daltônicos e que este problema é proveniente da falta de interesse dos próprios clientes, falta de planejamento prévio, entre outros.

A general theory for system design is presented based on axiomatic design. The theory is applicable to many different kinds of systems, including machines, large systems, software systems, organizations, and systems consisting of a combination of hardware and software. Systems are represented by means of a system architecture, which takes the form of the {FR}/{DP}/{PV} hierarchies, a 'junction-module' diagram, and the 'flow diagram'. The 'flow diagram' for system architecture concisely represents the system design, the relationship among modules, and the control sequence in operating systems. The flow diagram of the system architecture can be used for many different tasks: design, construction, operation, modification, and maintenance of the system. It should also be useful for distributed design and operation of systems, diagnosis of system failures, and for archival documentation.

Este artigo introduz os conceitos de ícone, hipo-ícone, imagem, diagrama e metáfora conforme definidos pela semiótica de Charles S. Peirce, tendo em vista a possibilidade de aplicação destes conceitos na análise dos sistemas de informação visual conhecidos como sistemas de pictogramas, ícones ou símbolos gráficos em design da informação. Ele apresenta um breve exemplo deste tipo de análise, e algumas considerações a respeito da possibilidade de aplicar estes conceitos no processo de criacão de tais sistemas.

Forme di ragionamento diagrammatico sono sempre esistite (dai quipu Inca ai grafici statistici classici, consolidati nella prima metà dell’Ottocento), ma è con la diffusione massiva delle pratiche di visualizzazione, correlata alla necessità di gestire una mole di informazioni sempre più ingente e alla disponibilità di tecnologie digitali sempre più raffinate, che la rappresentazione visiva dei dati è entrata a pieno titolo nel nostro immaginario. Nell’era dei big data la visualizzazione delle informazioni è diventata un fenomeno di massa, che spesso però guardiamo distrattamente o non vediamo affatto. In altre parole, di infografiche, diagrammi e visualizzazioni spesso cogliamo soltanto i dati che riportano ma non lo specifico modo (e tutto da vedere) in cui ci sono dati, ovvero la peculiare forma visiva e grafica in cui ci sono offerti.
Da un punto di vista semiotico ci sembra invece rilevante – ed è questo l’oggetto dei saggi di questo libro – porre attenzione alle specifiche modalità di messa in discorso dei dati in esempi anche molto diversi tra loro: dall’Isotype all’infografica contemporanea, tra rappresentazione e visualizzazione dei dati; da alcune installazioni digitali interattive alla contaminazione tra media, come nella photoviz; dal giornalismo dei dati alla retorica della trasparenza negli open data.

Wayfinding is an ancient activity that has been essential for the survival of animals and humans for many centuries, aided by different sources of information, using a range of wayfinding strategies. This chapter explains how people navigate through different environments and explores how information, both static and digital, influences human

This text examines globalization and its effects from the perspective of how differences in access to online communication technologies between the economically developed countries and less economically developed countries is affecting social, economic, educational, and political developments in the world’s emerging economies. In so doing, the collection also examines how this situation is creating a global digital divide that will have adverse consequences for all nations. Each of the book’s chapters examines trends and ideas related to the global digital divide between economically developed countries and less economically developed nations. Through this approach, the contributors present perspectives from the economically developing nations themselves versus other texts that explore this topic from the perspective of economically developed countries. In this way, this volume offers a new and an important perspective to the growing literature on the global digital divide.

This paper focuses on the urban graffiti painted with a political message by different
movements of the Italian political radicalism in the cities of Rome, Florence, Massa,
Carrara, Verona and Udine. For the purpose of this article, during the period from June
2011 to June 2012, a total of 165 graffiti have been photographed, of which 83 painted by
neo-fascist groups, 72 by extreme left groups and 10 by anarchist groups. These three
macro communities, made of different subgroups, emerged as the most active in expressing
their antagonism towards the parliamentary parties with their graffiti that combine semantic
(words) and semiotic (images) elements. An analysis of the collected graffiti’s language
form, meaning and context allows for the identification of the variety of styles of
communication adopted by the different political antagonisms and the different contents of
their communication through graffiti as well as the key elements of their political identities.
Key words: political radicalism, graffiti, linguistics

Set against a background of graphic design’s ‘identity crisis’, this paper proposes that information design can provide an adaptable and relevant framework for teaching graphic design. With social, technological, environmental, and industrial changes providing a new context for design and how it operates in the world, an audience-focussed, problem-solving approach is validated as central to reimagining graphic design education. Through a case study example, the paper suggests that when graphic design students in a traditional craft-based design education programme are offered a human-centred approach to solving design problems—specifically information design problem solving and research methods—their own graphic design practice changes.

"Edited by R Penman & D Sless

Understand information design: the process of creating information which is accessible and usable.

This collection of papers from our highly influencial symposium in 1990 is the classic text on Information Design in Australia.

Long before most people had heard about usability or 'user-centred design', and before the internet, the Institute had developed methods for designing accessible and usable information.

Contents

Introduction: Robyn Penman
Opening address: informing Australia: Ian Castles
What is information design?: David Sless
New design standards for ABS publications: a case study: Maureen MacKenzie
Presenting mathematical information: Edwin Coleman
Product labelling regulation: can it lead to good information design?: Arthur D. Shulman and David Sless
The Telecom Bill: redesigning a computer generated report: David Sless
Multimedia presentation of information: communication solution or communication problem?: Richard K. Lowe
A science of graphical data display: William S. Cleveland
Understanding forms as communication: a case study: Robert Barnett
The power of literacy: myths and fallacies: Rosie Wickert
Standard letters: how standard are they? what do they really say? : Nicolette Stasko
The cybe etic frontier: speculations on the future of human computer interaction: Brenda Laurel"