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The ongoing struggle in the integration of Big Data methodology into the social science "toolkit" is due, in no small part, to the gulf between the "two cultures" of research. Those that produce and work with explanatory models (the first culture) criticize the primarily predictive models (the second) produced as part of Big Data research. While often the debate does not acknowledge the role of models as a fundamental point of contention, it nonetheless underlies much of the discourse. By better appreciating this difference and finding ways in which to integrate models, Big Data social science will become better integrated in the general social science research practice. The goal of this work is to critically examine the existing gap, the consequences of its existence, and possible resolutions. [ABSTRACT FROM AUTHOR]

Conveying a narrative with visualizations often requires choosing an order in which to present visualizations. While evidence exists that narrative sequencing in traditional stories can affect comprehension and memory, little is known about how sequencing choices affect narrative visualization. We consider the forms and reactions to sequencing in narrative visualization presentations to provide a deeper understanding with a focus on linear, 'slideshow-style' presentations. We conduct a qualitative analysis of 42 professional narrative visualizations to gain empirical knowledge on the forms that structure and sequence take. Based on the results of this study we propose a graph-driven approach for automatically identifying effective sequences in a set of visualizations to be presented linearly. Our approach identifies possible transitions in a visualization set and prioritizes local (visualization-to-visualization) transitions based on an objective function that minimizes the cost of transitions from the audience perspective. We conduct two studies to validate this function. We also expand the approach with additional knowledge of user preferences for different types of local transitions and the effects of global sequencing strategies on memory, preference, and comprehension. Our results include a relative ranking of types of visualization transitions by the audience perspective and support for memory and subjective rating benefits of visualization sequences that use parallelism as a structural device. We discuss how these insights can guide the design of narrative visualization and systems that support optimization of visualization sequence. [ABSTRACT FROM AUTHOR]

Many well-cited theories for visualization design state that a visual representation should be optimized for quick and immediate interpretation by a user. Distracting elements like decorative "chartjunk" or extraneous information are avoided so as not to slow comprehension. Yet several recent studies in visualization research provide evidence that non-efficient visual elements may benefit comprehension and recall on the part of users. Similarly, findings from studies related to learning from visual displays in various subfields of psychology suggest that introducing cognitive difficulties to visualization interaction can improve a user's understanding of important information. In this paper, we synthesize empirical results from cross-disciplinary research on visual information representations, providing a counterpoint to efficiency-based design theory with guidelines that describe how visual difficulties can be introduced to benefit comprehension and recall. We identify conditions under which the application of visual difficulties is appropriate based on underlying factors in visualization interaction like active processing and engagement. We characterize effective graph design as a trade-off between efficiency and learning difficulties in order to provide Information Visualization (InfoVis) researchers and practitioners with a framework for organizing explorations of graphs for which comprehension and recall are crucial. We identify implications of this view for the design and evaluation of information visualizations. [ABSTRACT FROM AUTHOR]

Data visualization designers and clients need to communicate effectively with each other to achieve a successful project. Unlike a personal or solo project, working with a client introduces a layer of complexity to the process. Client and designer might have different ideas about what is an acceptable solution that would satisfy the goals and constraints of the project. Thus, the client-designer relationship is an important part of the design process. To better understand the relationship, we conducted an interview study with 12 data visualization designers. We develop a model of a client-designer project space consisting of three aspects: surfacing project goals, agreeing on resource allocation, and creating a successful design. For each aspect, designer and client have their own mental model of how they envision the project. Disagreements between these models can be resolved by negotiation that brings them closer to alignment. We identified three main negotiation strategies to navigate the project space: 1) expanding the project space to consider more potential options, 2) constraining the project space to narrow in on the boundaries, and 3) shifting the project space to different options. We discuss client-designer collaboration as a negotiated relationship, with opportunities and challenges for each side. We suggest ways to mitigate challenges to avoid friction from developing into conflict.

Despite the ubiquity of communicative visualizations, specifying communicative intent during design is ad hoc. Whether we are selecting from a set of visualizations, commissioning someone to produce them, or creating them ourselves, an effective way of specifying intent can help guide this process. Ideally, we would have a concise and shared specification language. In previous work, we have argued that communicative intents can be viewed as a learning/assessment problem (i.e., what should the reader learn and what test should they do well on). Learning-based specification formats are linked (e.g., assessments are derived from objectives) but some may more effectively specify communicative intent. Through a large-scale experiment, we studied three specification types: learning objectives, insights, and assessments. Participants, guided by one of these specifications, rated their preferences for a set of visualization designs. Then, we evaluated the set of visualization designs to assess which specification led participants to prefer the most effective visualizations. We find that while all specification types have benefits over no-specification, each format has its own advantages. Our results show that learning objective-based specifications helped participants the most in visualization selection. We also identify situations in which specifications may be insufficient and assessments are vital.

Details-on-demand is a crucial feature in the visual information-seeking process but is often only implemented in highly constrained settings. The most common solution, hover queries (i.e., tooltips), are fast and expressive but are usually limited to single mark (e.g., a bar in a bar chart). 'Queries' to retrieve details for more complex sets of objects (e.g., comparisons between pairs of elements, averages across multiple items, trend lines, etc.) are difficult for end-users to invoke explicitly. Further, the output of these queries require complex annotations and overlays which need to be displayed and dismissed on demand to avoid clutter. In this work we introduce SmartCues, a library to support details-on-demand through dynamically computed overlays. For end-users, SmartCues provides multitouch interactions to construct complex queries for a variety of details. For designers, SmartCues offers an interaction library that can be used out-of-the-box, and can be extended for new charts and detail types. We demonstrate how SmartCues can be implemented across a wide array of visualization types and, through a lab study, show that end users can effectively use SmartCues.