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Visualizing Science - The Way of the Dodo
Seeing Science in Everyday Life

ryanwyatt
Date: Monday, September 25th, 2006, at 03:47
Subject: The Way of the Dodo
Security: Public
Location:New York, New York
Music:Yo La Tengo
Tags:dodo, lithograph, scientific illustration


Like many research organizations, the Royal Society has a “Picture of the Month” that it displays on its web page. This month, they reproduce the image above, a 19th-century lithograph based on a 17th-century oil by Roelandt Savery. I would like to draw your attention to a critical attribute of this lithograph: it sucks. Particularly if you have no idea what a dodo looks like.

Comparing the above image to Savery’s most famous oil of a dodo, it seems as though the 19th-century copyist (somebody named “Erxleben”) may simply have lacked talent. Admittedly, the caption on the web site indicates that it merely reproduces “a small detail” of the lithograph, but even at that, it’s hard to take the person’s skill seriously.

I choose this image to highlight how far we’ve come. Three-dimensional computer reconstructions and digital images from spacecraft a billion miles from home are only the tip of the iceberg! We have a plethora of techniques to take scientific data and transform them into pictures. But the work started with scientists and artists putting pencil to paper, or brush to canvas, or crayon to limestone,… Photography, of course, only started in the middle of the 19th Century, and digital imaging techniques are thirty-some-odd-years old.

What we now take for granted is the fidelity of a representation to its sources. Specialists might quibble over the use of color or the “fixing” of errors such as bad pixels, but fundamentally, we all think of contemporary visualizations as accurate in a way that few drawings or paintings, even those executed by gifted artists, could ever hope to be. When you couple that inherent limitation with the potentially incompetent skills of a secondary or tertiary artist such as, say, Erxleben, then you quickly see how successive copies of a work used to grow worse over time. (For another good example, compare Galileo’s orginal delicate watercolors of moon phases with the respectable engravings he commissioned for Siderius Nuncius as well as the mediocre woodcuts that appeared in a knock-off, unauthorized printing of the same.) We no longer need to worry about such things.

Of course, there are plenty of other things for science visualizers to worry about (or at least consider and mull over). That’s why I started this blog, after all…
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User: (Anonymous)
Date: Thursday, October 26th, 2006, at 17:15 (UTC)
Subject: Better Late Than Never

Something's been bugging me about this piece, but it took a little while for my thoughts about it to coalesce.

I think you started out with a fairly narrow notion about how the data in hand-copied artwork tends to deteriorate over time, contrasting this with perfect digital reproduction now, but you ended up saying something much broader:

What we now take for granted is the fidelity of a representation to its sources....We no longer need to worry about such things.

Gack! Yes we do. In fact, it's getting worse. Computers have put image tools at the fingertips of millions of Erxlebens. We're getting complacent about the digital illusion of perfect accuracy--the image equivalent of 15 spurious digits of precision--and among a lot of viz people, there isn't much real regard for the need to acquire and apply artistic knowledge.

I recently added a page (http://home.comcast.net/~erniew/astro/usnomoon.html) to my site that's a good example of this. It deals with lunar phase imagery produced by a scientist at the US Naval Observatory. Not only is the imagery distorted to a degree similar to Erxleben's dodo, it got that way for the same reason--artistic incompetence, in this case a failure to understand raytracing software.

It's becoming increasingly common for scientific groups to buy a seat of Maya or RenderMan and follow this with a press release or a comment to a local reporter: "The scientists at SoAndSo are using Hollywood tools to produce computer graphics of unprecedented yackity yack...", and I cringe every time I see it. I've written a few Hollywood tools; the ability to use them wisely isn't included in the box.

Ernie Wright (http://home.comcast.net/~erniew/index.html)

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ryanwyatt
User: [info]ryanwyatt
Date: Thursday, October 26th, 2006, at 17:52 (UTC)
Subject: Re: Better Late Than Never
You make a very good point. As I wrote the above, I mostly had in mind digital imagery, which preserves a certain fidelity even when made to jump through hoops as various as false color, dynamic stretching, and on and on. But you’re quite right in saying that we do need to worry about such things; indeed, it’s because I worry about such things that I started this blog.

I would note that even the most egregious mishandling of data results in work that isn’t as far off the mark as Erxleben’s: his art is wrong in a way that almost no data visualizations are (at least that I’ve seen). “Artist’s representations” are a different matter. So I wouldn’t go so far as to say that it’s getting worse… Just that the number of ways we have to screw things up has increased with our bigger toolset.

Thanks for keeping me honest!
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User: (Anonymous)
Date: Thursday, October 26th, 2006, at 20:06 (UTC)
Subject: Re: Better Late Than Never
I promise I'm not being intentionally obtuse: In what way is Erxleben's Dodo farther off the mark than the USNO's Moon?

For reference, the Savery image Erxleben copied is undoubtedly this one:

http://static.zsl.org/images/width415/saverys-dodo-closeup-1853.jpg

a detail from the bottom left corner of a painting Savery did in 1629, now hanging in the Reading Room of the Zoological Society of London library. The full Erxleben lithograph is here:

http://www.palli.ch/~kapeskreyol/dodo/images/origine1.jpg

Ernie Wright
http://home.comcast.net/~erniew/index.html
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