Analographic Data Visualizations
The two facets / frames of references that I find the most useful to my personal definition & experience of art and its purposes are:
1.) An artwork’s ability to convey an emotional reality (or at least “internal” state) from the artists’ mind to the observer / consumer’s.
2.) An artwork’s ability to represent knowledge (or information; the distinction between which I don’t intend to get into here) in a way that is abstracted from the direct, original representation of it, in a way that is more compelling, or conveys more (perhaps the thread that ties #2 into #1) than if it were to be simply echoed.
Daniel Libeskind‘s “eL Masterpiece” chandelier, for me, is a fascinating representation of the latter (specifically because of the scaled translation of time, and non-metaphorical use of light, (not to mention the use of super-computers to generate the data that it surfaces).
I also very much like that it is a real-world (what Aurelia Moser calls “analographic”) data visualization object, giving it more of a visceral “weight” than one that only appears on a screen. This does not add any ability or functionality, but it is hard for me to think that there isn’t something much more communicative or transmittal because of its actual presence.
It is difficult to say, not having experienced the “playback” (?) of it in person (or even on-screen; link anyone?) whether it is more compelling when one is standing in a room with the piece, which perhaps brings us to the realm of discussion in this Idea Channel webisode…