neurographica : figure + form by m m

neurographica: figure + form visualizing neurological data for exploration and analysis

vol 3

compiled and edited by maria moon

neurographica: figure+form visualizing neurological data for exploration and analysis

vol 3

by maria moon

for whom this would not be possible, 어머니와 아버지 + hh

Acknowledgements This project would not have been made possible without the significant contributions and support of the following individuals. lead advisor

Anne Burdick

faculty thesis advisors

Peter Cho Tim Durfee Peter Lunenfeld Lisa Nugent Thea Petchler

design advisors

Louis Danziger Simon Johnston

collaborators in consultation

Jack Anderson, PhD Eugene Lubenov, PhD Dante Carlos Moran Cerf Hank Huang Qusai Kathawala Daniel Kim Johanna Kim Jean Ku Charles Lu Russell Johnson MIya Osaki Jiyeon Song Linda Yoon Phil van Allen

Neurons that fire together, wire together. Hebbâ&#x20AC;&#x2122;s Law

Content 3 5 6 7 9 10 23 31 87 143 144 147

Abstract Working definitions Figure Form Preface Scientia and designare Neural spike trains Case Study 1: Neurographic specimens Case Study 2: MMPI Welch grid Collaborators Conclusion Notes + Bibliography

Abstract neurographica investigates the ways in which design can be used to explore and analyze neurological data. Traditionally, the predominant role of design in the scientific process has been to visually encapsulate, model, or evidence a particular argument or conclusion. However, as developments in technology provide scientists with unprecedented amounts of data, there has been a growing need for design to be inserted earlier in the process. Working in tandem with the science, design becomes an ideal means for exploration, analysis, and discovery. While current modalities of visualizing data remain limited to traditional forms of statistical analysis, accessible programming languages, such as Processing, enable designers to structure new ways data can be dynamically expressed. By applying the visual approaches that are their core competencies, designers can innovate and create unexpected ways to encounter data for analysis and assessment. neurographica is the culmination of a series of studies that expand upon this premise and asserts that in collaboration with scientists, the meaningful, interesting, and unforeseen await to be discovered and revealed.

Working definitions art+design— The definition of both art and design has been argued over since the early 1900s. For the purpose of this thesis, the author has chosen to define art as subjective visual expression that originates from the maker, resulting in a visual and dimensional outcome. Design exists within this realm in that makers are subjectively utilizing the visual language of color and form through the act of image making. However its intention is to serve as the embodiment of content, which stands for an idea, a message, or information that may not be derived from its maker. In addition, design bears the added responsibility of function and delivery that creates its own classes of methods and modes, the prime example being graphic design and media design. Both are practices that fulfill the parameter of design. However, they differ in historical context and approach. As the author’s background is in both graphic and media design, the word ‘design’ is used to encompass both practices. science— In a similar vein, the breadth of science is vast and innumerable in its branches, subdivisions, and specialties that it would be quite impossible to continue without noting that the author defines science to mean the fields of knowledge or study that is concerned with the natural or physical world gained through observation and experimentation. formal— qualities related to form. system+structure— Implementation of hierarchy and order. Both terms are frequently used throughout neurographica. Part of the reason is because as a designer, it was one of the metaphorical ways I could conceptualize how design could extend towards the programming environment. Designing a system for visualizations could be thought of in the same vein as designing the layout of a poster, where visual elements would operate, behave, or perform in a directed manner. This idea is not entirely new. However, within the programming environment, designers are now involved at the level of code, structuring the framework for content. There have been two people who have been highly influential in my own personal view in this respect, Daniel Gross of Catalogtree and Luna Maurer. Both are adamant believers that design involves the digital and philosophical substructure or frame from which content emerges or is made evident. design (again) — Central to this project, is the question of “design” itself. In the sciences – especially in the United States – the culture of pragmatism, objectivity and empiricism can be unwelcoming to what may seem at a glance are the “unnecessary” contributions of design. Considering how good design can tangibly improve the “objective” fields of science and engineering prompts a reminder that considerations inherent to any process of design– order, harmony, hierarchy, systems, scale, color – are evidence of health, of “correctness.” Notwithstanding the anachronistic associations some of these connections of order and harmony with “beauty” and “correctness” may have in the broader culture at large – within the sciences, a revisited alignment of these qualities as the primary purview of Design repositions Design not as a process of making order or harmony, but revealing it. [1] 5

figure n. a (geometrical) shape n. a diagram or drawing to explain something v. to estimate or consider fig·ure

c.1225, from O.Fr. figure, from L. figura “a shape, form, figure,” from PIE *fig-, originally in Eng. with meaning “numeral,” but sense of “form, likeness” is almost as old (c.1250). The verb meaning “to picture in the mind” is from 1603. Philosophical and scientific senses are from L. figura being used to translate Gk. skhema.

Arabic

‫تعَي ينايَب لْكَش ْلكَش‬ ْ ‫د ِ َق‬، ‫َع ّ َق َوتَي‬

Bulgarian Chinese

фигура 圖形; 圖; 估計

Czech

obrazec; obrázek, myslet; pocítat

Danish

figur; diagram; forestille; gætte på

Dutch

figuur; afbeelding ; vermoeden

Estonian

kujund; joonis; arvama, arvestama

Finnish

kuvio; kuva; arvella

French

figure; penser

German

die Figur; die Abbildung; glauben

Greek

(γεωμετρικό) σχήμα; (σχε)διάγραμμα; υπολογίζω, θεωρώ

Hebrew

‫ןיבהל ;הרוצ‬

Hungarian

(sík)idom; ábra, diagram; gondol

Icelandic

mynd; skÿringarmynd; hugsa, reikna út

Indonesian

bentuk; gambar; berpikir

Italian

figura; pensare

Japanese Latvian

図形; 図; 思う 도형; , 그림; 생각하다 ¯ ¯ ¯ ¯ iedomaties ' (geometriska) figura; zimejums; diagramma; apreinat;

Lithuanian

figura; piešinys; manyti, laikyti

Korean

Norwegian

figur, form, mønster; regne med, vente

Polish

figura; rycina, rysunek; liczyc´

Portuguese

figura; imaginar

Romanian

˘ a crede, a considera figura;

Russian

(геометрическая) фигура; диаграмма, рисунок; считать

Slovak

obrazec; obrázok; mysliet’

Slovenian

lik; prikaz; racunati ˘

Spanish

figura; diagrama; figurar

Swedish

figur; anta, räkna med

Turkish

sekil; resim; düsünmek, sanmak, tahmin etmek ¸ ¸

figure. Dictionary.com. Kernerman English Multilingual Dictionary. K Dictionaries Ltd. http://dictionary.reference.com/browse/ figure (accessed: April 05, 2008).

form

n. (a) shape; outward appearance v. to make; to cause to take shape v. to come into existence; to take shape

form

c.1225, from O.Fr. forme, from L. forma “form, mold, shape, case,” origin unknown. One theory holds that it is from Gk. morphe “form, beauty, outward appearance” (see morphine) via Etruscan. Sense of “behavior” is first recorded c.1386. The verb is attested from 1297.

Arabic

‫ ْلكَش‬، ‫هَئ ْيَه‬، ‫سؤُي هَروص‬ َ ّ ِ ‫س‬، ‫ َل ّ كَشَتَي ن ِ ّ َوكُي‬، ‫نَ ّ َو َكتَي‬، ‫الكَش ُذ ِ خَ ّتَي‬

Bulgarian

тяло , форма 形狀; 組成; 形成

Chinese Czech

tvar; postava; vytvorit; ˘ zformovat se, utvorit ˘ se

Danish

form; skikkelse; danne; oprette; opstå; tage form

Dutch

gedaante; vormen; zich ontwikkelen;

Estonian

kuju, vorm; moodustama, asutama; kuju võtma, vormuma

Finnish

hahmo, muoto;

French

forme, silhouette; former; prendre forme

German

die Form, die Gestalt; bilden, gründen; Gestalt annehmen

Greek

μορφή, σχήμα; σχηματίζω; σχηματίζομαι

Hebrew

(‫רצוויהל ;הרוצ שובלל ;ךרעיהל ;רדתסהל ;תווהל ;שבגל ;בצעל ;רוצל ;רוציל )’פ‬

Hungarian

alak, forma; (ki)alakít; alakul

Icelandic

form; vera (útlínur); stofna; móta; mótast, myndast

Indonesian

bentuk; membentuk; terbentuk

Italian

forma; formare; farsi un’idea; modellare

Japanese Korean

形; 作る; 生じる 모양, 형상; 만들다; 생기다, 형성되다

Latvian

¯ ¯ ¯ rasties; izveidoties forma; arejais veids; apveids; izveidot; organizet;

Lithuanian

forma, pavidalas; sudaryti; atsirasti, susidaryti, susiformuoti

Norwegian

form, skikkelse; danne, stifte; ta form, danne seg

Polish

kształt; (s)tworzyc; ´ powstawac´

Portuguese

forma; formar, constituir; omar forma

Romanian

˘ da o forma, ˘ modela; forma;

Russian

форма; очертание; организовывать; возникать

Slovak

postava; utvorit’; sformovat’ sa

Slovenian

oblika; oblikovati; izoblikovati (se)

Spanish

forma; formar, constituir; formarse

Swedish

gestalt, skepnad, figur; bilda; ta form

Turkish

biçim, sekil, görüntü; olmak, olusturmak; olusmak, biçimlenme ¸ ¸ ¸

form. Dictionary.com. Kernerman English Multilingual Dictionary. K Dictionaries Ltd. http://dictionary.reference.com/browse/ figure (accessed: April 05, 2008).

Preface In Jonah Lehrer’s Proust was a Neuroscientist, Lehrer makes the case for art and the humanities to sincerely engage with the sciences. Acknowledging that science will never know everything, he ventures to say that art teaches how to live with mystery. He places responsibility for art to continue to question science, with the challenge to not ignore science’s descriptions of reality and for science to recognize that their truths are not the only truths. He ends with, ‘This is the artist’s purpose: to keep our reality, with all its frailties and question marks, on the agenda.’ [2] I have always been enthralled when I read passages like this. There is a moment of euphoria when the acknowledgement is made–art does indeed have a serious contribution to make. However, the satisfaction is short-lived and I believe that it is because, as a designer, the case is never made of how there already exists a meaningful way science and art can engage–design. And if it is the case, it begs the question, can design, the functioning form of art, be acknowledged to bring equal contributions to science in the same way that science contributes to design? This conundrum is core to my development of neurographica. Through three volumes, neurographica is the documented attempts of my ventures as a designer into unfamiliar terrain to identify areas design can be fully realized as a meaningful contributor outside of where design has traditionally flourished. With programming platforms, such as Processing, designers are able to directly structure, program, and implement data-driven design. More importantly, with these abilities, design can be useful in exploration and analysis. As an exploratory tool, the marriage of the exact (data) and the expressive (form) can be accepted as a first level accurate representation of data. The benefit is that representations can remain abstract, while revealing relationships or patterns. This visual interplay is an asset of our faculties and can be utilized to help suggest possibilities or give different ways to engage with data. In Computer Graphics as Allegorical Knowledge: Electronic Imagery in the Sciences, an article Leonardo, Richard Wright explains, ‘This unpredictability permits ‘creativity’ in knowledge generation and allows alternative and potentially more valuable hypotheses to come to the surface for consideration.’ [3] The final volume of neurographica is devoted to designing for creativity and unpredictability, using two specific datasets within neuroscience.

Scientia+designare Traditionally, the predominant role of design has been to visually encapsulate, model, or evidence a particular argument or conclusion in the discourse of scientific experimentation and discovery. A rich history of how the mind has been represented has developed for centuries across various cultures around the world. These images are records, in and of themselves, and hint at surrounding attitudes, beliefs as well as developing technologies that were undeniably an integral part of demonstrating and disseminating the results of the day. And yet other facets of image making have developed alongside as instruments of investigation where, for instance, images are shown to a subject and the subject’s response is recorded and evaluated. The third role that has emerged has been for the purposes of analysis where scientists take data and implement techniques of standard deviation to visually translate that data. Improved techniques in data collection allow for greater degrees of specification in targeting areas of interest in the brain and advances in modern medicine now allow scientists to collect neural data on live human subjects over a period of time. The ability to simultaneously record neural signals from live patients and subjects is at the forefront of neuroscience and will enable scientists to explore and understand the brain at a much higher resolution than previously possible. As developments in technology provide scientists with unprecedented amounts of data, the analysis of that data becomes the greatest challenge. Current modalities of representing data have limitations in expressing the volume and dynamic nature of this amount of data. Scientists rely on graphing program where a static figure or form appears to be read. Common or familiar diagrams are scatter plots, bar charts, pie charts, graphs and similar visual forms of the same vein. The visual result is the sense of ‘sterility’ or ‘objective’ plotting of information, which has the advantage of setting up the viewing environment as appearing pure in its representation. There is a definite value and a specific purpose to visualizing data in this manner, where the visual results are understood by scientists as analogous to the data. However, in reality, scientists understand that a point in data hardly stands alone. It exists within context and relationships on many different levels. Every level informs, references, reinforces, and even creates meaning as to its value. There have been attempts by scientist, programmers, and engineers to create tools, such as MatLab, to allow the scientist ways to work with data. Many neuroscientists are well versed in complex programming languages. However, as their specialty is not in the formal languages of design, their results are well-formulated iterations of the preceding model that work well on many levels but offer little additional insight. Design has a long history of dealing with the same issues that scientists are faced with today in visually navigating through large volumes of data. From designing functional visual marks, such as letterforms, to encyclopedic databases, design has developed strong models in conceptualizing structure and hierarchy. As a method, it involves experimentation, algorithm, dimen10

sion, color, and form to create levels of engagement for the viewer with the content. More to the point, design ultimately examines and acts on the overall intention of viewing which is essential to its final purpose. Until recently, the design community had limited ability to program representation of data. Programming languages were complex and not conducive towards users who did not specialize in the discipline. However, with accessible platforms like Processing, designers can now take an active role alongside the scientist to visualize data in ways that seeks to acknowledge the dynamic dimensions and structures that exist within. neurographica is the cumulation of a series of studies that expand upon this premise. It is a body of work that is a designed response made from observations surfaced through research in the roles of design the neurosciences. The body of work consists of codices dedicated towards the visual examination of how image operates in science, first, with a birds-eye view of the discipline; secondly, the ways in which the mind and brain have been imaged; thirdly, the alternate role of image in examination, and finally two case studies derived from data used in displaying neural activity and the Minnesota Multiplastic Personality Inventory, also known as the MMPI. Both projects in the final case studies were integral in contributing towards my thesis and operates in two ways: utilizes principles of design to expose aspects of the visual discourse in this discipline and secondly, through form, investigates opportunities where data-driven design can be implemented for exploration and discovery. It is not a proposal to replace or devalue current tools of analysis; rather it is the insertion that design has a place in the discourse of scientific experimentation that further extends beyond current models. Design should be taken seriously as a discipline for the sciences and not be allocated as the cosmetic of encapsulating a final outcome; it should be appreciated as a vehicle that allows for key components of science such as imagination, observation, and analysis to occur at a much earlier stage in the scientific process.

When principles of design replicate principles of thought, the act of arranging information becomes an act of insight. [4] Edward Tufte

Reflections by project : the Pre-libre Books Prior to collaboration, one of the design problems was to research the use of graphic devices used in science. The underlying philosophy was that visual forms collected could be informative to the designer and give a window to how they operated. The pre-libre project involved visually sampling various branches of science and by removing the images collected out of their original context, enabled the designer to examine, assess, and reorganize the images through the perspective of design. What became evident through this process were certain predilections, such as the choice for minimal abstract representations in conceptual disciplines versus the ornate and usually literal illustrations used to picture the subject of interest. The following observations were culled through the process and assembled into three pre-libre books: abstract lingua subdivisions dot to dot: tracing the invisible line language: reading relationships plane place holders: body doubles This volume displays the abstracted formal languages of dot, line and plane that stood as markers or place holders for content. Dots were used as marking points of invisible deviation where connections between points could start or end. Lines were used to indicate relationship, connection, or path and the plane would represent or indicate volume. Minimal abstractions were instrumental and flexible as marks and where the viewer supplied the context and

meaning. In addition, abstract form allowed the marks to stand less for literal translation of content but embodied the hypothetical. Branches of science populated with minimal representations were mathematics and physics. mapping subdivisions tracking time: flattening dimensions identifying locations: identifying x, y, z seeing potential: possible dimensions in context: spatial proportions Mapping displays the format of maps as providing the ability to flatten dimensions and to provide spatial and proportional context. This allows for a combination of the abstract and literal to be translated for viewers so that mapped images would indicate relative proportions of the x, y, z axis that could be reconstructed in the viewerâ&#x20AC;&#x2122;s mind. Included in this collection is the idea that mapping was not limited to geographic purposes but also would be used to indicate progression over periods of time. Part of the strength of combining the literal and the abstract was to provide the potential to project possibilities of what might occur in the next steps of a process. Although geographic disciplines are heavily reliant on this graphic technique, both conceptual and natural disciplines use it to represent process over time.

recording subsections living: detail + dimension non-living: micro + macro vision Recording takes into account how visualizations have been used to record details and dimension. These include individual photographic work of the macro and micro view. Here, images introduce new perspectives that are outside of the realm of unaltered vision. Although abstract shapes may be a part of this visual category, the shapes are understood to be literal and factual representations. However, as images zoom between the macro and the micro, the images provide the opportunity to observe the meta-view in the case of the macro, and the substructure in the case of the micro that by their unfamiliarity give room for an altered point of view that does not have to adhere to the literal representation. As a part of the design process, working through the swipe books was an opportunity to survey the visual landscape of how design has been utilized to convey information and to also seek and identify where design was absent.

Reflections by project : neurographica volume 1 & 2 The design process at its best, uncovers conceptual opportunities through exploration and experimentation. A strategy I applied in structuring this volume was to acknowledge that visual images have the capacity to communicate qualities that are self-evident. Therefore, it was important to design the content of this book to allow viewers close access to the content. This would allow viewers to observe individual detail of an image but also be able to look at the image in context and in relation to its place in history. Volume 1, Cerebra, was my first direct attempt to work with the materials of the brain. Cross-referencing several sources of neurological history, a collection of images and descriptions were gathered by the author, organized, and edited to represent the growth of imagery and knowledge in the field. A self-imposed limitation was to only use information and images found on the internet. The reason for this imposition was to research availability of information as well as to witness the representation that, by its accessibility, was in dissemination in the database of the world wide web. Intentional or not, the presence of these images plays a role in shaping a perception of the brain. What I discovered through designing this volume was the more the image was given prominence on the page, the more the image was telling in several ways. Clearly evident was the shift in technology effecting representation, and on a subtle level, how the role of imagery has changed accordingly so that by the end of the 20th century, precision, exact â&#x20AC;&#x153;pureâ&#x20AC;? representations are valued as truthful evidence. An example of effects of technology in representative imagery would be 14

neurographica vol 1

to compare Leonardo’s drawing of the brain to PET scans. In both cases the images are used to study the brain, however, while PET scans are the product of technology, Leonardo da Vinci’s drawing were studies that reflected an adherence to the philosophical understanding of the day of the brain as organ. In addition, without the ability of mass production, drawings like da Vinci’s were revered, studied, and treasured as being documentation of the brain. Because of its illustrative qualities, the viewer of today understands that it was a scientist’s recorded observation. The scientist was directly involved in the image making. In digital form, the PET scans are created by machines and are treasured for slightly different reasons. The obvious benefit is that practitioners have access to the original digital image in the most Warhol-ist of ways. As such, the image can be used for investigation of the literal. However, its presence has not ended there and has permeated in the public consciousness. Books like this first volume are not new. Two reference books are widely recognized editions that document the history of how the brain has been imaged, An Illustrated History of Brain Function, by Edwin Clarke and Kenneth Dewhurst, and The Human Brain and Spinal Chord by Edwin Clarke and Charles Donald O’Malley. However, several aberrations reflect the difference of approach of a designer. Three observations surface in comparison, the first being that though the compendia are about how the brain has been imaged, the books themselves exhibit 10% of their pages as actual images. Most images are 1/4 the size of the page and about 30% of them are portraits of scientists. An Illustrated History of Brain Function do show more images (161, to be exact) however they suffer from the problem of being reduced to what would fit into a quarter of the page. More importantly, though psychology has stemmed from the neurosciences and continues to interweave throughout, it is grossly underrepresented in both books, if at all. And finally, the greatest difference is that there is very little representation of the eastern contributions in imaging the brain, except for a few images from the Middle East made in the early 1400s. Therefore, one of the surprises has been that the Internet does allow for a better representation of the global (and historic) contributions made in neuroscience. Volume 2 is a second body of research branched from the observance that images have an additional role in the neuroscience that were not geared towards representing or imaging the brain. Rather, designs were utilized as instruments in examining the brain by neuroscientists and psychologists. Some of the exams tested physical phenomena of visuo-perception, such as optical illusions. Other tests probed into facets of the mind, such as personality, intellect, and reason. For this volume, research could not be limited to the Internet and had to include three different textbooks, as well as a handful of neuropsychological sites. The greatest difficulty in research was locating original images of the psychological exams. There were several reasons, one being that companies

of the tests are reluctant to release images for fear that their value would depreciate. More importantly, as a discipline, neuropsychology has not made the effort to retain record of original forms of tests, thereby making this compendium the most difficult of the three to amass. One of the discoveries I made from the materials gathered was how psychology and design have a common visual origin. Many of the early color tests were experiments the founding fathers of design, such as Josef Albers conducted. In a similar vein, tests looking at principles of gestalt–convergence, figure / ground, similarity, and motion, completion of image, to name a few–are echoed as principles of design to consider, from the rudiments of type to the design of a poster or book. Two major considerations were made in approaching the design of volume 2, the first being that the content gathered were exams. What would be the best way to exhibit exams? Secondly, how can designers structure content to represent a body of work that was scarce, undervalued and considered ephemeral? What can this body of work reveal? In designing variations of organization, the decided final form was analogous to volume one, where again, viewers are given visuals as the primary means of engaging with the material. The tests were organized through a common thread that distributed the content according to the visual pathway which is the locative path in the brain to process visual perception. By analyzing and redistributing the content of the book, the designer is able to offer a visual alternative in contextualizing the found images. I was fortunate to review this volume with historian and archivist, Russell Johnson. From our conversation I was able to gather that currently, there is not a compendium such as volume 2 that records the visual and psychological tests in the same manner. The difficulty in collecting original tests has been due to the practice that visuals were usually not included in the papers, especially in psychology. This problem is common and historians and archivist alike struggle to locate original tests. The tragedy is in the inability to accurately document the initial iterations–which may reflect qualities lost on the current iterations. On the other hand, physicists have been known to deem the process, by which equations, sketches, and formulas of work are created, as being invaluable to capturing the process and path by which a scientist operates. From the author’s own research, the closest book might be the Neuropsychological Assessment by Muriel LeZak which a reference guide for practitioners. Obviously, as the intent is different, there is less dedication to the visual as there is to the description resulting in descriptions of tests and application. However, without images, many of the descriptions are incomplete.

Volume 3 This third volume is the documentation of designs developed as tools for ex-

ploration and analysis. It is very different in nature than the first two volumes in that all of the visual materials were created by the author, and therefore originated from one source. Volume 3 is a visual interjection to particular design opportunities that were identified by the author in two areas of the neurosciences: neuropsychology and neurobiology. Therefore the designed outcome rightly feels and appears differently that the previous two volumes. The first study, Neurographic specimens, presents alternative visualizations for exploratory analysis of neurodata. The second study, welch grid, examines how design can extend the visualization of data results from the Minnesota Multiplastic Personality Inventory (mmpi) from its current model. Both studies were done in collaboration with neuroscientist, Eugene Lubenov and psychologist, Jack Anderson, PhD. Richard Wright writes in Computer Graphics as Allegorical Knowledge: Electronic Imagery in the Sciences, “Scientific insight does not flow uninhibitedly merely from the diligent recording of observations.” [5] He goes on to make a case for how vision and perception are powerful tools that, in their ambiguity and unpredictability, “permits ‘creativity’ in knowledge generation and allows alternative and potentially more valuable hypotheses to come to the surface for consideration.” [6] Wright’s point is key because it opens up the realm of visualizing data as a means for exploration, rather than representation. By doing so, we, as designers, can unhinge the focus or goal of design from packaging empirical data, to taking part in knowledge making. Combining design with data-driven abilities further enables visual analysis to take place. One of the key ingredients to both project was the use of programming. Previous to this project, I had little experience programming and one of the delights and disdains was being confronted with an additional language to learn. There were two facets of programming that I found fascinating in the process of learning, the first being that the language itself is very exact, as it needs to be. Spelling errors will break code and result in nothing or worse, crashing your computer. The order of commands is key in the final visual outcome. And yet, there are innumerable ways to accomplish the same thing. There is no ‘right’ way. Through the course of teaching myself programming, I have come to find that code is ideal when it is created to be elegantly simple, reduced, and minimally operational. There are many parallels to this idea that comes across in both design and science where design (and science) at its best operates with minimum effort for maximum effect. Working in the Processing platform seemed like the perfect merging of two disciplines and could bridge designed elements to be driven by data in ways that are less cumbersome than what current programming languages allow. Then, design can offer what is valued to operate for many scientists in an image, where conscientious considerations are made to allow data to perform, function, and operate in unexpected ways. My difficulty was in finally understanding that though the language of programming is an exact science, so to speak, the possibilities are infinite and that there is no one exact way to accomplish a 19

desired result. My solution was to create a sundry of possibilities that would demonstrate how principles of design could give visual form to data. Each project required organization, programming, and development of graphic symbols. In addition, both project required a look at how data would perform. This was an unanticipated challenge for the author and required exploration. In some instances, algorithms for how data could be used as input for the shape, speed, or size was used as a way to uncover or detect expression. In other instances, certain values were equated with a visual form. Therefore careful consideration needed to be taken with the body of data itself so that qualities such as maximum and minimum values needed to be identified and considered with each visualization. Neurographic specimens required designing the means for a signal to be recognized in the noise of data. At its base is the understanding that the data is not yet fully understood. By translating the data to a formal language, neuroscientists have the opportunity to encounter and engage with data in an untraditional and unexpected way. Neurographic specimens utilize programmed behaviors to present variations of visual patterns that would act as filters to the predilections of the observed data. Through performed commands, each variation seeks to expose an aspect of the data that would provide scientists different ways to sift through data. The initial challenge in this project was to approach a design problem that at its surface, seemed to resolve to infinite possibilities of pattern making. Two solutions were applied to address these internal conflicts. The first was to realize that there were infinite possibilities. However, analogous to letterforms in typography, certain forms, combinations and behaviors could be considered key to providing â&#x20AC;&#x2DC;legibility.â&#x20AC;&#x2122; Along the same lines, sets of form and behaviors need to be considered both individually and in multiples, similar to how letterforms to operate within a string or body of text. For the Welch grid, color, size, and shape were used to create a lexicon of symbols that would work as a signal for psychologists to use in interpreting assessment. Using standard deviation, the current graphing model separates data in two levels. One is the raw scores of the data, and the other is the x, y plotted line that corresponds to the data scores. The welch grid adds the added layer for data to express a visual snapshot that would quickly communicate the sense of mental health or lack thereof in an area. In addition, by creat-ing operational marks, the welch grid extends the ability for practitioners to observe multiple tests of a family, community, or population for assessment at once.

spread from The ABCâ&#x20AC;&#x2122;s of the Bauhaus and Design [7]

maria moon

designer

Case study no. 1: neurographic specimens

Notes from first meeting with Eugene Lubenov, diagrams of spike train.

Neural spike trains & analysis Neurons are cells from the nervous system. Neurons emit electric pulsed signals that are thought to be carriers of information. For the purposes of analysis, the signals are translated into binary waveforms, which are referred to as spike trains. Neuroscientists study spike trains as a way to look for patterns or relationships to better understand some aspect of neural functioning. Neurons can signal at a certain electrical strength by rate, by the variance in the rate, and by a skew in the rate. When two neurons emit signals at the same relative time, this might signal intensity or causality. The order of occurrence can also indicate of neural behavior on a biological level. There are a variety of techniques that allow scientists to gather this type of data that includes inserting nanometric electrodes into brain tissue that may be from sliced samples to real-time collection from live subjects. Spike train analysis includes relating neural activity to stimulation and identifying patterns. How data is analyzed varies from scientist to scientist. All scientists who study neurodata have access to data analysis software. Many are able to program their own tools, using programs such as MatLab. However, these programs, as powerful as they are, offer limited visual variety in suggesting how data may be visualized. Some scientists listen to the neurodata as a method of scanning data, while others feed data through various plotting programs to see if a pattern will emerge. The growing problem that neuroscientists face is being able to visually filter through large volumes of neural data. In addition, at the stage of analysis and exploration, scientists do not necessarily know what patterns might be relevant or the hierarchy of the data to be applied. With programming platforms, such as Processing, designers have the opportunity to meet the needs of scientists to have new visual grounds to interface and engage with data. What Processing supplies is the ability for data to have a direct, utilitarian relationship to the ed form.

Exploratory data analysis Underlying the specimens is the notion of Exploratory Data Analysis. Exploratory Data Analysis is the philosophy that data visualized can reveal its underlying structure and model. This differ from Classical approaches to data, where a model is determined and then data is collected. EDA asserts that the model, and in essence the hypothesis, can be reveled by data. EDA relies heavily on graphics to represent the data and programming platforms. The reason for the heavy reliance on graphics is that by its very nature the main role of EDA is to open-mindedly explore, and graphics gives the analysts unparalleled power to do so, enticing the data to reveal its structural secrets,

and being always ready to gain some new, often unsuspected, insight into the data. In combination with the natural pattern-recognition capabilities that we all possess, graphics provides unparalleled power to carry this out. A common visual analysis used is the scatter plot technique. The premise of exploratory data analysis is the ideal grounds from which design could contribute greatly, however currently, there are no visual models that demonstrate the potential or promise of what is possible. Design Questions What are ways in which large amounts of data can be displayed comprehensibly? How does data perform? What qualities work better in exhibiting the whole, versus lesser amounts?

A scatter plot reveals relationships or association between two variables. Such relationships manifest themselves by any non-random structure in the plot. This sample plot reveals a linear relationship between the two variables indicating that a linear regression model might be appropriate. Scatter plots can provide answers to the following questions: Are variables X and Y related? Are variables X and Y linearly related? Are variables X and Y non-linearly related? Does the variation in Y change depending on X? Are there outliers? Example and description by National Institute of Standards and Technology.

A scatter plot is a plot of the values of Y versus the corresponding values of X: Vertical axis: variable Yâ&#x20AC;&#x201C;usually the response variable Horizontal axis: variable Xâ&#x20AC;&#x201C;usually some variable we suspect may be related to the response 27

Scatter plot examples

Scatter plot matrix

Case study no. 1: neurographic specimens Neurographic specimens in this chapter were developed as a graphical means of exploring and analyzing a specific type of neural data, spike trains. Three characteristics of neural data were used to develop neurographic specimens: event, successive events, and refractory periods. These characteristics were used to create alternate perspectives of the same set of data. Neurographic specimens were developed using a morphological grid, which was first developed by Fritz Zwicky and introduced to the author by graphic designer, Louis Danziger. Similar to typography specimens, neurographic specimens have differing ‘faces’ that may enhance a particular feature of the data. Similar to typography specimens, neurographic specimens have ‘faces’ that may enhance a particular feature of the data. Whether used to visualize a single neuron or multiple neurons, neurographic specimens are displayed to graphically express data over a period of time. Dynamic specimens are available for view online at neurographica.org There are areas for further development, namely in interaction, which demands a greater amount of attention and development outside of the current project time frame. Providing analysts the capability to interface with the data would add a new level of analysis that have yet to be fully explored.

morphological grid used by karl gerstner

Morphological grid Neurographic specimens was a very challenging design problem. Particular to its content was data. In Computer Graphics as Allegorical Knowledge: Electronic Imagery in the Sciences, Richard Wright describes data collection as such: “The drive towards a totality of understanding or ‘finality’ in scientific research has resulted in the desire to acquire immense amounts of information about a phenomenon to ensure certitude and has led to what has become known as the ‘firehose of data’ effect.“ [8] Increasing the difficulty was uncertainty in knowing what the data meant. How does one design when the value of its content has yet to be determined? How does one design when design is utilized as the vehicle for exploration and analysis? An additional challenge was in realizing that in Processing or programming, the solutions are infinite. Any shape or behavior could be programmed to data. The design solution seemed to be only a matter of application. In his essay, Design and the Play Instinct, Paul Rand wrote ”I believe that if, in the statement of a problem, undue emphasis is placed on freedom and self-expression, the result is apt to be...a meaningless solution.” [9] Working on the neurographic specimens project, this very problem was amplified where on one hand, the project demanded total freedom from what was conventional. I needed to explore, experiment, and invent design in perhaps the most self-expressive ways. Yet on the other hand, the freedom was daunting and the possibilities were overwhelming. In other words, a great volume of visually enticing work could be created that would amount to the equivalent of additional noise. Keeping Rand in mind, the approach to developing neurographic specimens was to place less emphasis on the visual experiments alone and to give more attention to how the visuals could combine with the nature of the problem, specifically, what are different ways inherent patterns in data be explored and revealed. In conversation with Lou Danziger, he suggested a method for working through this type of problem that Karl Gerstner explained first in his book, Designing Programmes. A grid was employed as an organizing system where main categories are listed on one column and the following columns would entail attributes. The criteria could be rough, knowing that they would be refined as one works through the grid. Karl Gerstner cites Fritz Zwicky has having been the first person to suggest this method of problem solving, although Zwicky intended it for scientists rather than designers. [10]

Programmes as Logic Instead of solutions for problems, programmes for solutions â&#x20AC;&#x201C; the subtitle can also be understood in those terms: for no problem (so to speak) is there an absolute solution. Reason: the possibilities cannot be delimited absolutely. There is always a group of solutions, one of which is the best under certain conditions. To describe the problem is part of the solution. This implies: not to make creative decisions as prompted by feeling but by intellectual criteria. The more exact and complete these criteria are, the more creative the work becomes. The creative process is to be reduced to an act of selection. Designing means: to pick out determining elements and combine them. Seen in these terms, designing calls for method. [11] Karl Gerstner

r = refractory period

morphological grid: neurographic specimens

1. signal

1.1 event

1.2 r period

1.3 total events

1.4 combine

2. axis

2.1 fixed x, y

2.2 mapped x

2.3 mapped y

2.4 combine

3. element

3.1 point

3.2 line

3.3 shape

3.4 combine

4. fill

4.1 solid

4.2 gradient

4.3 effect

4.4 combine

5. color

5.1 one color

5.2 two color

5.3 combine

6. event

6.1 single

6.2 multiple

6.3 independent

6.4 simultaneous

7. ratio / scale

7.1 one:one

7.2 one:two

7.3 one:three

7.4 combine

8. view

8.1 static

8.2 motion

8.3 combine

9. location

9.1 irrelevent

9.2 relevent (2D)

9.3 relevent(3D)

Starting from scratch: one set of events Upon receiving the first periods of data, I set about trying to determine what the design problem was. What were my elements? Being unfamiliar with code, the way I started to familiarize myself with the process was to code literally by hand. Setting up the file in Illustrator, I then marked out distance, time, and events. Working by hand was ultimately a very slow process and unproductive as a result in some aspects. On the other hand, the primary gain in working in this manner was to have freedom to experiment without being constrained by coding language. In addition, the process taught me natural or existing attributes of the data, such as difference between values, or total lines of numbers, etc. One of the essential lessons I learned in this process was how simple marks ultimately gave greater flexibility in how they could visually operate as a form and in behavior.

1928 spikes in an hour

Provided by Eugene Lubenov, postdoctoral fellow of Center for Biological Circuit Design California Institue of Technology Pasadena, CA USA

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sample explorations

3.6872530e+06

One set of events At the onset of this project, I decided to teach myself the programming language, Processing as a way to be directly involved with the data. This involved learning the language of coding from scratch. One of the benefit of working with Processing was the online community support available at processing.org. One of the benefit of learning processing myself was to experience how code needed to be structure or set up. Working with Processing turned out to be a thinking tool because it required thinking through steps to define parameters, elements and behaviorâ&#x20AC;&#x201C;all part of developing the visualization of one line. Building on each lesson, I would then test how and what variables could be used, while keeping the end goal of how scientists would be able to discern patterns.

Every game has its rules and every art has its technique. Children invent the rules for their games and every artist invents the technique that is best suited to embody what can be defined as the communicating picture. The brush is one of the instruments to realize this picture but not the only one. These days there are electronic brushes and machines that can produce pictures. As always, it depends on who uses the instrument and how. [13] Bruno Munari

Data Recorded Neurodata from Region Hippocampal CA3 Data_006, Cells #4â&#x20AC;&#x201C;95 2400 of 11000 ms

email regarding data and project [12]

The following samples are intended for the screen viewing. For the purposes of showingsamples in this book, only 42 cells out of 63 are shown. Provided by Yuji IKEGAYA, Laboratory of Chemical Pharmacology, Graduate School of Pharmaceutical Sciences, The University of Tokyo, Japan.

18 specimens : variations on a theme Computer processing provides an immediate result which allows for generating variations relatively easily. One benefit to rapid generation is that one can assess a certain command or quality of visual expression by the body of work that is generated. One can start to assess that certain qualities are good in one form of visualization over another. A parallel way to think about this process is to think of the specimens in terms of music. Variations work in the same way where a melody can act as structure or a unifying them. Variations are constructed to retain the same melody or qualities of the melody. composers use varitiosn of a theme to enhance particular tones, harmonies or chordsâ&#x20AC;&#x201C;each highlighting a different feelingâ&#x20AC;&#x201C;while retaining an echo of the inner structure of melody. Likewise, developing neurographic specimens involved the same principle. The following specimens are organized into two categories: succession of events and refractory periods.

visual sample time (ms) traditional event

spike train

succession of events sample 1

sample 2

refractory period traditional spike train refractory period sample predetermined refractory period ranges programmed to select color

original data set cells 1-63

time (ms)

specimen 1: successive events A graphic object reacts to data of event. Size decreases, while increasing in height for successive events. Emphasis is placed on refractory event.

close up on selected cell

specimen 2: successive events : Each event triggers a size increaseâ&#x20AC;&#x201C;when there are no events, the size decreases to rest state. This sample is displayed in motion.

specimen 3: successive events : Each event triggers a size increaseâ&#x20AC;&#x201C;when there are no events, the size decreases to rest state. This sample is displayed in motion.

Graphic elements create or draw an image, driven by data of event.

specimen 4 : successive events At each event, graphic object increases its height. When there are no events, then the object returns to â&#x20AC;&#x2DC;0.â&#x20AC;&#x2122; Large circles are used as markers for when the event occurred.

specimen 5: successive events At each event, graphic object increases its height. When there are no events, then the object returns to â&#x20AC;&#x2DC;0.â&#x20AC;&#x2122; Large circles are used as markers for when the event occurred.

Graphic elements create or draw an image, driven by data of event. When the values reach a certain parameter, the graphic elements are instructed to behave differently.

specimen 6: successive events A line is drawn from left to right and as events occur, the line acts simliarly to a bouncing ball, increasing in its y value, with each successive event. When there are no events, the line returns to its original state.

specimen 7: successive events At each event, a dot appears. When there are events that occur sucessively, the dots increase in size to indicate a â&#x20AC;&#x2DC;build upâ&#x20AC;&#x2122; of events.

specimen 8: successive events At each event, a dot appears. When there are events that occur sucessively, the dots increase in size to indicate a â&#x20AC;&#x2DC;build upâ&#x20AC;&#x2122; of events.

Events effect line change and are accentuated by added weight at event.

specimen 9: successive events Objects are drawn from left to right and grow in size per events when set threshold values have been reached.

specimen 10 : successive events Objects are drawn from left to right and grow in size per events when set threshold values have been reached.

Marks incate when a very narrow range of values are met.

specimen 11: successive events Events trigger growth in size and graphics allowed to overlap to create positive / negative shapes.

specimen 12: successive events Events trigger growth in size and graphics allowed to overlap to create positive / negative shapes.

Color is used to indicate when threshold has been reached.

specimen 13 : successive events Opacity effect is used as a way for successive events to create shapes.

specimen 14 : successive events Opacity effect is used as a way for successive events to create shapes. Length of line indicates refractory period, as do the green dots.

specimen 15: refractory period Refractory period is used to as the data to create shapes.

specimen 16: refractory period Data is compressed when there are litter or no refractory periods, otherwise refractory periods of data are indicated by length of vertical lines.

specimen 17: refractory period Color is used to distinguish between refractory periods. Grey indicates little or no event (refractory period) and green indicates high occurance of events.

specimen 18: refractory period Combination of parameters are used to indicate refractory period differences. When refractory periods are greated then set value, grey bars will appear, otherwise, refractory periods of shorter lengths are shown by vertical length of lines. Green Dots are used to increase visibility line length changes.

specimen 19: refractory period Refractory periods parsed by lengh of duration. When durations are greater then set values, line weight is light. When durations are shorter, line weight is increased and refractory periods are indicated by height difference from original starting point.

Case study no.2: MMPI welch grid

a letter from Jack Andersonâ&#x20AC;&#x2122;s patient

The Minnesota Multiplastic Personality Inventory is a neuropsychological test used to assess mental health. The MMPI assists in evaluating personality and psychopathology. There are ten major areas that the test examines: hypochondria, depression, hysteria, psychopathology, gender affinity, paranoia, anxiety, schizophrenia, mania, and introversion. Also integral to the test is the validity scales that determine whether subjects have answered the questions consistently, randomly, are projecting themselves in a good or bad light, and if they are defensive. The MMPI uses 567 items, all true or false and usually takes 1 to 2 hours to complete. Various subscales have been created to further break down the categories of answers for analysis. Like most standardized test, the MMPI is not representative of percentile rank or how â&#x20AC;&#x2DC;wellâ&#x20AC;&#x2122; a person perform. It uses ranges to determine if the subject is reporting normal, elevated, or low levels in the ten areas accounted for by the MMPI. There are several scales that have been added to aid practitioners however for this project, the author has chosen to work with the original scale because it is the most used. Normal ranges fall between the scores of 40-55. Elevated levels are above 65 and indicate distress. Depending on the scale, levels of elevation may reflect the degree of seriousness. Also depending on the scale, scores below 40 may signal distress. Currently the MMPI scores are displayed as a line chart where scores are scattered across an x, y-axis and connected in order. There are two ways that the scales are used: individually, where a score signal distress in a specific area and secondly, by two to three scale combinations, which have been determined to be indicative of behavior, history, or inclination in personality. (More information can be found at: http://en.wikipedia.org/wiki/Minnesota_ Multiphasic_Personality_Inventory) One of the difficulties reading the mmpi chart is that there are only two levels of inspection, the graphic and the numbers. Visually, they operate to quickly identify scores that reach elevated ranges. However, for the most part, what we have is too much information at a time. One of the solutions to this problem has been the welch code. The welch code consists of the ten scores, reorganized from the greatest value to the least. The welch code utilizes typographic marks to indicate information, such as when two scores fall within one point of each other, if they are above the T-score 65 or below, and so on.

!! = 120 + ! = 110 – 119 ** = 100 * = 90 – 99 “ = 80 – 89 ‘ = 70 – 79 - = 60 – 69 / = 50 – 59 : = 40 – 49 # = 30 – 39 less than 29, to the right of # underline text means that the scores differ only by 1 value.

Example welch code for chart shown on right: ‘ 5 : 6 2 3 10 4 8 7 9 # 1 -K S / T : V F L Fb Fp

female10 95 90 85 80 75 70

T SCORES

65 60 55 50 45 40 35 30 VRIN TRIN (T) (T) 46 K Corrected non K Corrected 46 Raw Scores

One of the problems with this code is that the scores positions are always changing so the order is really most useful only on an individual basis and by identifying the first two score-pairs that are the most elevated. Design questions How can be data-driven shapes act as signal? Do shapes add or subtract from readability? What types of qualities can be read on an intuitive level? Would one shape work best or would the ability to make comparisons between scales be lost? Are there any other uses for the designed outcome?

50 50

44 44

MMPI-2

F F psyc back h

TRIN (T)

50 50

44 44

42 42

Supe rlati ve

41 41

43 43

67 67

65 65

49 37

47 47

49 43

72 72

49 49

53 41

53 42

43 40

45 45

Page 1

Original data from previous graph 0 1 1 0 0 1 0 1 1 1 0 1 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 1 0 0 0 1 1 1 0 0 0 0 0 1 0 1 0 1 0 1 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0

0 0 1 1 1 0 0 0 0 1 1 1 1 1 0 1 0 1 0 0 0 0 1 0 1 1 0 1 0 1 0 0 0 0 0 0 1 0 0 0 0 1 0 1 0 0 1 0 0 1 0 1 1 0 1 1 1 0 1 1 1 1 1 0 0

1 1 1 0 0 1 1 0 1 1 1 0 1 0 0 0 0 0 0 0 0 1 1 1 1 0 0 0 1 1 0 0 1 1 1 0 0 0 1 0 0 0 1 1 0 1 1 0 1 0 1 0 1 0 0 1 0 1 0 0 0 1 0 1 0

1 0 0 1 0 0 0 1 1 0 0 1 1 0 1 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 1

0 = F and 1 = T

1 1 1 0 0 1 0 0 0 0 0 1 0 0 0 1 0 1 1 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 1 0 0 0 1 0 0 0 0 0 0 0

0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 0 0 0 1 0 1 0 0 1 0 0

0 0 0 0 0 0 0 1 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 1 0 0 1 1 0 0 1 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1

1 0 1 1 1 0 1 0 0 1 0 1 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0

1 1 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 1 1 0 0 1 0 0 0

5 F

calculations extract 6 10 49 6 10 scores 49

Harris-Lingoes Subscales

D1 (subj d)

D2 Psmtr ret) 6

D3 pys.mal.

D4 m dull

D5 Brooding 1

Hy1 Den of a. 6

Hy2 Need for a 7

Hy3 Lassitude 1

Hy4 Somatic 0

Hy5 Inh Agg 5

PSY 5 SCALES

Pd1 Fam Dis 2

AGGR

Pd2 Auth Prob 2

Pd3 Soc Imp 5

Pd4 Soc alien 2

Pd5 Self alien 0

Pa1 Persec i 0

Pa2 Poingnan 3

Pa3 Naivete

Sc1 Soc alien 0

Sc2 Emot Alien

49 Sc3 ego cognitive

43 Sc4 Ego - conative

44 Sc5 Defec Inh 1

Sc6 Bizarre

Ma1 Amoral

Ma2 Psm Acc 5

Ma3 Impertub 4

Ma4 Ego Infl 1

Si1(shyness) 3

Si2(avoidance) 4

Si3 (alienatn) 0

PSYC

DISC

NEGE

INTR

VRIN (1)

VRIN(2)

VRIN (T)

TRIN

TRIN(F)

TRIN (T)

F back

F psych

Superlative

Restructured Clinical Scales

Supplemental Scales A

Mt (col mldjt)

Pk (PTSD)

MDS

O-H

MAC R

AAS

APS

CONTENT SCALES ANX

OBS

43 41

DEP

HEA

ANG

ASP

TPA

LSE

SOD

FAM

WRK

FRS

CYN

BIZ

TRT

LRaw_F

LT_F FRAW_F

HY3_F

HY4_F HY5_F Pd1_F Pd2_F Pd3_F

FT_F

A_F R_F

Es_F MacR_F

NEGE

INTR VRIN TRIN Fb

35 38

1 38

KRAW_F

KT_F

Pd4_F Pd5_F

O-H_F ANX_F OBS_F

Pa1_F

Pa2_F Pa3_F HEA_F

ANG_F ASP_F

D3_F D4_F D5_F

Sc6_F

Ma1_F

TPA_F LSE_F SOD_F FAM_F

HY1_F HY2_F

Ma2_F Ma3_F Ma4_F

WRK_F

Raw AGGR PSYC DISC

MDS

AAS APS

Si1

Si3

RAW SCORES D1_F

DEP_F

D2_F

Sc2_F Sc3_F Sc4_F Sc5_F

BIZ TRT Do (19) Re (20) Mt

Si2

Sc1_F

FRS CYN

118

39 37

111

36 47

data continued on 36 page34 147 36 36 33 40 35 42

44 2

103

58 50 67

76 61

86 67

30 7

95 73

30 8

104 78

105

113 84

113

30 10

100

120 90

60 63

Case study no.2: MMPI welch grid The MMPI Welch Grid is a data-driven symbol that is the visualized results of the Minnesota Multiplastic Personality Inventory test (MMPI), which is a test used for neuropsychological assessment. The symbol consists of a 3 x 3 grid that allocates each position to the scales measured in the MMPI. The scores of each scale inform the size, shape, color, and behavior of the forms that emerge. As a unit, the Welch Grid operates in providing a first level read of the scores that is lacking in the current visualization available. The Welch Grid also creates the opportunity for assessors to easily read multiple cases at a time.

grid: 9+1 9 points plus centers of each point as one

â&#x20AC;&#x153;Today, creative artists have three tasks to accomplish if the language of vision is to be made a potent factor in reshaping our lives. They must learn and apply the laws of plastic organization needed for the re-establishing of the created image on a healthy basis. They must make terms with contemporary spatial experiences to learn to utilize the visual representation of contemporary space-time events. Finally, they must release the reserves of creative imagination and organize them into dynamic idioms, that is, develop a contemporary dynamic iconography.â&#x20AC;? [14] Gyorgy Kepes

MMPI scales

1 hypochondria

4 psychopathic deviant

8 schitzophrenia

2 depression

6 paranoia

9 hypomania

5 gender affinity The centers of the circles reflect the fifth scale of the MMPI. This scale is not considered integral to diagnosis. Currently it is used to assess the subjects affinity or comfort with traditional male and female roles. When the centers are white, they indicate that the subject have no inherent conflicts or strong tendency towards one role or the other.

3 hysteria

7 anxiety

10 introversion

Key

normal range

10 introversion

low = extrovert

5 high = introvert

presents self as extremely masculine comfortably identifies with both masculine and feminine characteristics. may experience conflict with sexual identity

presents self as extremely feminine comfortably identifies with both masculine and feminine characteristics. may experience conflict with sexual identity

Indicators Each scale is divided into ranges that indicate the levels of experience reported by the subject. Not all scales are all divided in the same way,

normal

moderate

marked

The color green is an indicator that the subject is well-adjusted and reports within the normal range in each scale.

extreme

Indicators : examples of differences 1 hypochondria Sometimes when scores in a particular area are extremely low, it can be an indication of distress in another area.

2 depression

3 hysteria

4 psychopathic deviant

100

distress

pain

5 female

strongly identifies with

identifies with non-tradi-

traditional roles

tional roles

mild distress

moderate distress

in conflict

male

6 paranoia

7 psychoasthenia (anxiety)

101

pain

8 schitzophrenia

9 hypomania

10 introversion

102

mild distress

moderate distress

pain

Validity: marks

Key 1

randomly answers

invalid

3 defensiveness 4

denial

5 distress 6 projecting good 7

103

projecting bad

Validity examples The validity scales of the MMPI measure the answers reported to analyze if overall the subject is answering consistently or if the subject is over-reporting in a given area. The scales also work in combination so that certain combinations may be indicators or signals in how a subject is answering the questions. The following examples are simulations of how the marks operate in the grid.

random VRIN

TRIN

invalid F back

104

denial F When elevated, may indicate that the subject is in denial. The F scale can be compared with the K and the Superlative scale to determine if the subject is defensive.

defensive L, F, K

distress K

105

positive L, K This scale measures if the subject is purposely projecting themselves in a positive light. People who are religious may be answering sincerely and answers can be viewed as valid.

negative F, K When elevated, the subject may be exaggerating or may be valid signal.

complexity VRIN, TRIN, F, Fback, Fpsych, L,K , Superlative combined When all of the attributes of the scales are combined, the complexity of the symbols increase, however, the human mind is able to recognize and learn patterns. The following pages show the Welch grid of the test results of 56 people who took the MMPI.

106

Test subjects

107

female 1

welch code

original graph

108

3 4 : 6 5 2 8 9 10 # 1 7 â&#x20AC;&#x2DC; K L - S : Fp F Fb / T : V

Screened centers indicate subject may be in denial.

projecting positively

Overall color of grid is

Subjectâ&#x20AC;&#x2122;s scores

green which indicates

in this scale is low-

subject as well-adjust-

er than norm levels,

ment.

however, for this scale, low levels are not indicative of distress.

Centers are light blue, which indicates non-traditional views of gender roles.

welch grid normal moderate marked extreme

109

female 2

welch code

original graph

110

- 3 4 / 5 1 : 2 6 9 10 7 # 8 â&#x20AC;&#x2DC; K - L S / Fb T : V F Fp

screened centers indicate subject may be in denial

Subject reports experiencing extreme levels of Subject reports experi-

distress in scale 3,

encing elevated levels of

hysteria.

distress in scale 4, which measures levels of psychopathic deviant.

projecting positively

welch grid normal moderate marked extreme

111

female 3

welch code

original graph

112

5 3 : 9 6 7 10 1 2 # 8 â&#x20AC;&#x2DC; L S - K / T : Fp Fb # V F

Screened centers indicate subject may be in denial.

The shape indicates that subject reports being an extrovert (the low score on scale 10, introversion.) The color indicates that there might be some distress experienced because of it.

welch grid normal moderate marked extreme

113

female 4

welch code

original graph

114

- 3 / 5 1 : 6 4 2 10 # 9 7 8 â&#x20AC;&#x2DC; K S / T F Fb : Fp # V

Screened centers indicate subject may be in denial.

Low scores on scale 9 indicate depression.

welch grid normal moderate marked extreme

115

female 5

welch code

original graph

116

- 3 / 5 1 : 6 4 2 10 # 9 7 8 â&#x20AC;&#x2DC; K S T / L F Fb : Fp # V

Subject reports experiencing high levels of distress in the first three scales: scale 1, hypochondria scale 2, depression scale 3, hysteria

Subject reports

moderate distress in

moderate distress

scale 4, psychopath-

in scale 7, psycho

ic deviant.

asthenia (anxiety).

Subject reports moderate distress in scale 8, schitzophrenia. Shape indicates that subject is defensive. Subject strongly identifies with traditional female roles.

welch grid normal moderate marked extreme

117

male 1

welch code

original graph

118

3 2 : 5 10 4 1 6 9 # 7 8 â&#x20AC;&#x2DC; S - K / T L : F Fb Fp # V

screened centers indicate subject may be in denial.

Shape indicates that subject is defensive.

welch grid normal moderate marked extreme

119

male 2

welch code

original graph

120

3 2 : 10 6 4 # 1 5 9 7 8 â&#x20AC;&#x2DC; S K - L / T : Fb F Fp # V

When the â&#x20AC;&#x2DC;positive projectionâ&#x20AC;&#x2122; line is on the outer edge of the norm guide, it indicates that in both K and L, (opposed to one scale or the other) the subject has made the effort of projecting positively.

Screened centers indicate subject may be in denial.

Low scores on scale 9 indicate depression.

welch grid normal moderate marked extreme

121

male 3

welch code

original graph

122

- 8 / 9 3 5 1 4 7 : 6 # 2 â&#x20AC;&#x2DC; Fp - Fb F / L S V T : K

An overall grey grid indicates that the subject is projecting negatively or attempting to appear â&#x20AC;&#x153;bad.â&#x20AC;?

Subject is reporting elevated levels in scale 8, schitzophrenia.

welch grid normal moderate marked extreme

123

male 4

welch code

original graph

124

- 6 / 3 5 4 2 : 8 10 9 # 7 1 â&#x20AC;&#x2DC;L - K / V T Fp Fb : F

The two most elevated scales can be used in MMPI High Point Pairs, developed by Newmark, C.S. and McCord, D.M (1996) MMPI-2.

Subject reports being comfortable with non-traditional male and female roles.

welch grid normal moderate marked extreme

125

male 5

welch code

original graph

126

- 4 5 / 3 6 : 8 2 9 7 # 1 10 - K S / Fp T : Fb L V F

In addition to being defensive and an extrovert, the subject is also reporting elevated levels of distress in psychopathic deviant and paranoia.

The shape indicates that subject reports being an extrovert (the low score on scale 10, introversion.) The color indicates that there might be some distress experienced because of it.

welch grid normal moderate marked extreme

127

couple 1 left Female right Male

128

couple 2 left Female right Male

welch grid normal moderate marked extreme

129

couple 3 left Female right Male

130

couple 4 left Female right Male

welch grid normal moderate marked extreme

131

couple 5 left Female right Male

132

couple 6 left Female right Male

welch grid normal moderate marked extreme

133

couple 7 left Female right Male

134

7 couples F

Welch grid of a community welch grid normal moderate marked extreme

135

Community The welch gridâ&#x20AC;&#x2122;s greatest advantage is its visual quality as a mark which makes the scales easier to asses in groups. Couples, families, and communities can be assessed collectivelyâ&#x20AC;&#x201C;something that the original visualizations were not created to do. The marks could signal or give clue to the dynamics of relationships, such as if both partners in a relationship are defensive, or if both partners are experiencing high levels of distress in a certain area. A psychologist would be able to initially structure therapy in consideration to these types of findings. In addition, over the span of time, the marks could animate the various scales that increase or decrease with time. Although the MMPI is not administered periodically for each individual, new methods can be created to capture the seasons of emotional change that a person, a family, or a community experiences through time.

136

community

Composite image of the 7 couples shown previously.

137

16 females

138

12 males

139

30 females

* original data on pg 93.

140

24 males

welch grid normal moderate marked extreme

141

Collaborators A significant requisite in approaching the subject at hand was to be able to work directly with practitioners in various disciplines. Therefore, an essential element of this thesis is the direct collaboration between designer and scientist. This would involve several meetings with each individual, sometimes for hours on end to discuss, review, and brainstorm ways of defining and approaching opportunities for design. Through a series of conversations, iterations of visual work were analyzed to see how the resulting forms would operate in the final utilization. This periodic feedback was valuable in many respects. It provided clarity in the design problem, in other words, in order to determine design solutionsâ&#x20AC;&#x201C;as the possibilities and variables may be endlessâ&#x20AC;&#x201C; the task then became how one determines the specific problem of interest. Through discussion, the design problem underwent the process of being reframed, redefined, and rephrased. It also served as experimental grounds for the designer to take note of what the scientist would react to and probe into why. For neurographica, the author was fortunate to collaborate with post-doctoral fellows in neuroscience at California Institute of Technology, Eugene Lubenov and Moran Cerf and with psychologist, Jack Anderson, PhD. In addition, I have been fortunate to have made the acquaintance of Russell Johnson, historian and archivist at UCLA biomedical library who really helped in the way that only a librarian truly could, by pointing me to what has been and what possibilites there are to come.

143

Conclusion Design is an extensive discipline that has uses in many different areas for the sciences. Currently, it is primarily utilized in the final stages of the scientific process, where the conclusion of a study or experiment of ideas needs to be communicated clearly and concisely. Design was intended for this purpose and does it well. As a designer, one of the personal challenges that I faced was my own education in the predominant notion that design should operate in one particular way, a way that Edward Tufte points out in his books regarding graphical integrity. In The Visual Display of Quantitative Information, Tufte states, “Graphical excellence begins with telling the truth about the data.” [15] This principle has merit and provides a strong foundation from which design can operate. However, it is short-sighted because it does not leave room for the other ways that design can function. With accessible programming platforms, designers can visualize data through a flexibility of forms that enable new ways of visually engaging with data. As such, design can be utilized by scientists at a different end of the scientific process, where it can help to discover the ideas to be articulated. It is not the job of design to diagnose or take the place of science. Rather, working in tandem with the science, design becomes an ideal means for exploration, analysis, and discovery. Witnessing and partaking in the synthesis between disciplines deepened my own appreciation and respect for design. One of my own personal discoveries was to attest to how design would expose what might have been previously unknown or taken for granted. Each of the volumes reveal insight, attitude, knowledge, social context, critique, interest, beliefs, and even history about the subject at hand. They become pondering pieces, where art, science, and history can mingle and merge. My personal delight has been to see how pieces from neurographica provide the opportunity for viewers to engage with science in a way that moves beyond the anesthetized presentation of objective fact to make room for imagination, observation, reflection, and supposition. Equally important was the process of designing neurographica. A large percentage of the work that was created for neurographica could be viewed as utter aesthetic disaster. And yet, I am deeply gratified in recounting or exposing them because they, too, are a part of design that does not get as much limelight as what they contribute towards, the final form. They act as markers for the thought process. Working in a discipline where our merits depend ultimately on the aesthetic quality of what is finally delivered, it was not easy to feel comfortable working with visual materials that might not fit standards of ‘beauty’ or ‘good design.’ My own reliance on appeasing the eye versus the process of design was exposed several times throughout this process. If anything, resisting the ‘bad’ and the ‘ugly’ had the tendency to propel me quickly past evaluating or exploring beyond the visual expression that has materialized for the moment. And yet I discovered that those very moments, when design was stripped down to its barest and basest were the moments when the design could be reacted to, evaluated, and explored for new potential. 144

This, I found, is the inherent paradox in our discipline, where at its least, it is its most. This is also the apex of where design can be combined with science, where its function is equally valued and appreciated in figure and form*. * Please refer neurographica seeks to acknowledge these very principles and ideas. It is to definitions a body of work that extends design as a bridge between disciplines. provided on pgs 15 â&#x20AC;&#x201C;16.

145

Original data

104

120

310

102

106

continued from page 94

103

110

120

105

109

106

114

108

113

107

30 42

79 91

77 91

115

119

80 94

44 22

109

118

110

116

82 98

47 23

112

120

113

120

84 101

50 24

115

66 67

118

100

67 68

87 49

102

58 27

102

60 28

28 71

106

103

92 53

101

109

94 54

103

147

80 88

_2T_F

_3T_F

_4T_F

_6T_F

_8T_F

_1RAW_F _1T_F

_5T_F

99 _7T_F

_9T_F

_10T_F

55 31

105

31 77

83 90

102 69

108

32 78

86 93

100

104 70

88 95

101

107

7788

105

110

101

64 93

111

100

107

117

106

100

113

100

102

120

111

104

105

101

101 49

103

105

72 104

118

108

100

113

106

109

111

33 18

108

120

101

102

112

103

118

36 19

111

106

116

102

106

120

39 20

115

110

120

103

105

148

109

119

89 113

80 28

84 76

106

108

114 55

92 116

82 29

109

110

65 70

118 56

120

112

101

113

67 73

120 59

115

70 77

63 25

118

100

73 80

86 26

102

33 65

89 27

35 68

102

91 28

37 71

103

106

94 29

101

39 74

78 109

96 30

103

_1RAW_F _1T_F

_2T_F

_3T_F

_4T_F

_5T_F

_6T_F

_7T_F

80 88

_8T_F

_9T_F

_10T_F

105

83 77

102 32

108

86 78

100

104 70

149

88 80

101

107

109

103

105

82 32

102

107

85 34

104

37 85

102

38 87

120

105

39 88

118

107

116

40 90

110

114

41 91

113

101

111

115

103

109

118

104

106

120

106

104

120

107

101

150

76 33

77 40

78 41

RESTRUCTURED SCALES

RAW

RCd

RC1

RC2

RC3

RC4

RC6

RC7

RC8

RC9

Raw

Frs1

Frs2

Dep1

Dep2

Dep3

Dep4

Hea1

Hea2

Hea3

Biz1

Biz2

Ang1

Ang2

Cyn1

Cyn2

ASP1

ASP2

Tpa1

Tpa2

LSE1

LSE2

SOD1

SOD2

FAM1

FAM2

TRT1

TRT2

100

103

107

109

111

120

114

108

118

151

41 68

120

118

43 73

120

73 56

101

66 73

85 76

86 60

107

90 81

91 62

114

11 94

96 63

120

100

105

13 99

100

14 101

100

15 103

103

100

16 105

106

109

75 107

112

109

111

100

115

66 79

113

102

118

152

101

105

115

101

120

103

107

117

104

120

105

110

106

100

107

113

108

111

109

115

112

113

118

114

115

120

116

118

120

79 101

103

105

106

108

100

110

102

112

103

114

105

87 116

106

117

108

119

109

120

111

112

114

115

116

118

119

120

153

Notes and Bibliography

Durfee, Tim.”Re: working definition,” 7 April 2008, personal email. (8 April 2008).

Lehrer, Jonah. Proust was a Neuroscientist. (New York: Houghton Mifflin Company, 2007), 197.

3 Wright, Richard. Computer Graphics as Allegorical Knowledge: Electronic Imagery in the Sciences Leonardo. Supplemental Issue, Vol. 3, Digital Image, Digital Cinema: SIGGRAPH ‘90 Art Show Catalog. (1990), 66. 4

Tufte, Edward. Visual Explanations. (Chesire: Graphics Press, 1997), 9.

5 Wright, Richard. Computer Graphics, 66. 6 ibid., 66. 7

The ABC’s of the Bauhaus and Design Theory. editors Lupton, Ellen and Miller, J. Abbot. (Singapore: Princeton Architectural Press, 1993), 51.

8 ibid., 66. 9 Rand, Paul. Education of Vision. (New York: George Braziller, 1965), 156. 10 Gerstner, Karl. Designing Programmes. (Switzerland: Lars Müller, 2007), 12 – 13. 11 ibid., 12. 12 Ikegaya, Yuji. “Re: MULTINEURON CALCIUM IMAGING (fMCI),” 13 March 2008, personal email (9 April 2008). 13 Lichtenstein, Claude and Alfredo W. Haberli. eds., Bruno Munari: Air Made Visible. (Switzerland: Lars Müller, 2000), 104. 14 Kepes, Gyorgy. Language of Vision. (New York: Dover Publications, Inc, 1996), 14. 15 Tufte, Edward. The Visual Display of Quantitative Information. (Chesire: Graphics Press, 2001), 53. 16 ibid., 77. .

157

Tufte, Edward. Visual Explanations. Chesire: Graphics Press, 1997.

Tufte, Edward. The Visual Display of Quantitative Information. Chesire: Graphics Press, 2001.

Wright, Richard. Leonardo. Supplemental Issue, Vol. 3, Digital Image, Digital Cinema: SIGGRAPH ‘90 Art Show Catalog. 1990.

Reference Lunenfeld, Peter. “The God Scan,” in Caroline A. Jones, ed., Sensorium: Embodied Experience, Technology, and Contemporary Art Cambridge: List Visual Art Center and MIT Press, 2006). Clarke, Edwin, Kenneth Dewhurst, and Michael Jeffery Aminoff. An Illustrated History of Brain Function: Imaging the Brain from Antiquity to the Present. Norman Publishing, 1995. Clarke, Edwin, and Charles Donald O’Malley. The Human Brain and Spinal Chord. Norman Publishing, 1995. Gerstner, Karl. Compendium for Literates: A System of Writing by Karl Gerstner. Switzerland: MIT Press. 1974. Reas, Casey and Ben Fry. Processing: A Programming Handbook for Visual Designers and Artists. Cambridge: MIT Press, 2007.

158

Data

Neurographic specimens

Yuji IKEGAYA

Laboratory of Chemical Pharmacology,

Graduate School of Pharmaceutical Sciences,

The University of Tokyo.

7-3-1 Hongo, Bunkyo-ku, Tokyo 113-0033, Japan.

Eugene Lubenov

Fellow Postdoctoral Scholar in Biology

Center for Biological Circuit Design

California Technical Institute

Pasadena, CA

Welch grid

Jack Anderson, PhD

Pacific Psychologica Resources

Pasadena, CA

200 E Del Mar Blvd

Pasadena, CA 91105

USA

Bibilography

The ABC’s of the Bauhaus and Design Theory. editors Lupton, Ellen and Miller, J. Abbot. Singapore: Princeton Architectural Press, 1993. Dictionary.com. Kernerman English Multilingual Dictionary. K Dictionaries Ltd. http://dictionary.reference.com/browse/figure (accessed: April 05, 2008).

Durfee, Tim.”Re: working definition,” 7 April 2008, personal email. (8 April 2008).

Gerstner, Karl. Designing Programmes. Switzerland: Lars Müller, 2007. Lehrer, Jonah. Proust was a Neuroscientist. New York: Houghton Mifflin Company, 2007.

Lichtenstein, Claude and Alfredo W. Halberli. eds., Bruno Munari: Air Made Visible. Switzerland: Lars Müller, 2000.

National Institute of Standards and Technology. http://www.itl.nist.gov/div898/handbook/ index.htm (accessed March 30, 2008).

pbs. The Secret Life of the Brain. http://www.pbs.org/wnet/brain/scanning/pet.html. (accessed March 30, 2008).

Rand, Paul. Education of Vision. ed. Gyorgy Kepes. New York: George Braziller, 1965.

159