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ScrollyVis: Interactive visual authoring of guided dynamic narratives for scientific scrollytelling
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Abstract
Visual stories are an effective and powerful tool to convey specific information to a diverse public. Scrollytelling is a recent visual storytelling technique extensively used on the web, where content appears or changes as users scroll up or down a page. By employing the familiar gesture of scrolling as its primary interaction mechanism, it provides users with a sense of control, exploration and discoverability while still offering a simple and intuitive interface. In this paper, we present a novel approach for authoring, editing, and presenting data-driven scientific narratives using scrollytelling. Our method flexibly integrates common sources such as images, text, and video, but also supports more specialized visualization techniques such as interactive maps as well as scalar field and mesh data visualizations. We show that scrolling navigation can be used to traverse dynamic narratives and demonstrate how it can be combined with interactive parameter exploration. The resulting system consists of an extensible web-based authoring tool capable of exporting stand-alone stories that can be hosted on any web server. We demonstrate the power and utility of our approach with case studies from several of diverse scientific fields and with a user study including 12 participants of diverse professional backgrounds. Furthermore, an expert in creating interactive articles assessed the usefulness of our approach and the quality of the created stories.
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We present a method for producing documentary-style content using real-time scientific visualization. We introduce molecumentaries, i.e., molecular documentaries featuring structural models from molecular biology, created through adaptable methods instead of the rigid traditional production pipeline. Our work is motivated by the rapid evolution of scientific visualization and it potential in science dissemination. Without some form of explanation or guidance, however, novices and lay-persons often find it difficult to gain insights from the visualization itself. We integrate such knowledge using the verbal channel and provide it along an engaging visual presentation. To realize the synthesis of a molecumentary, we provide technical solutions along two major production steps: (1) preparing a story structure and (2) turning the story into a concrete narrative. In the first step, we compile information about the model from heterogeneous sources into a story graph. We combine local knowledge with external sources to complete the story graph and enrich the final result. In the second step, we synthesize a narrative, i.e., story elements presented in sequence, using the story graph. We then traverse the story graph and generate a virtual tour, using automated camera and visualization transitions. We turn texts written by domain experts into verbal representations using text-to-speech functionality and provide them as a commentary. Using the described framework, we synthesize fly-throughs with descriptions: automatic ones that mimic a manually authored documentary or semi-automatic ones which guide the documentary narrative solely through curated textual input.
Analyzing the evolution of thunderstorms is critical in determining the potential for the development of severe weather events. Existing visualization systems for short‐term weather forecasting (nowcasting) allow for basic analysis and prediction of storm developments. However, they lack advanced visual features for efficient decision‐making. We developed a visual analytics tool for the detection of hazardous thunderstorms and their characterization, using a visual design centered on a reformulated expert task workflow that includes visual features to overview storms and quickly identify high‐impact weather events, a novel storm graph visualization to inspect and analyze the storm structure, as well as a set of interactive views for efficient identification of similar storm cells (known as analogs) in historical data and their use for nowcasting. Our tool was designed with and evaluated by meteorologists and expert forecasters working in short‐term operational weather forecasting of severe weather events. Results show that our solution suits the forecasters' workflow. Our visual design is expressive, easy to use, and effective for prompt analysis and quick decision‐making in the context of short‐range operational weather forecasting.
We examine the process of designing an exhibit to communicate scientific findings from a complex dataset and unfamiliar domain to the public in a science museum. Our exhibit sought to communicate new lessons based on scientific findings from the domain of metagenomics. This multi-user exhibit had three goals: (1) to inform the public about microbial communities and their daily cycles; (2) to link microbes' activity to the concept of gene expression; (3) and to highlight scientists' use of gene expression data to understand the role of microbes. To address these three goals, we derived visualization designs with three corresponding stories, each corresponding to a goal. We present three successive rounds of design and evaluation of our attempts to convey these goals. We could successfully present one story but had limited success with our second and third goals. This work presents a detailed account of an attempt to explain tightly coupled relationships through storytelling and animation in a multi-user, informal learning environment to a public with varying prior knowledge on the domain and identify lessons for future design.
Avoid unwarranted certainty, neat narratives and partisan presentation; strive to inform, not persuade.
There is a renewed interest amongst science communication practitioners and scholars to explore the potential of storytelling in public communication of science, including to understand how science storytelling functions (or could fail) in different contexts. Drawing from storytelling as the core theme of the 2018 conference of the Public Communication of Science and Technology (PCST) Network, we present a selection of papers, essays and practice insights that offer diverse perspectives. Some contributions focus on the cultural and structural qualities of science stories and its key success factors, while others explore new formats, platforms and collaborators in science storytelling activities.
Compelling stories about science can motivate people to engage and respond to relevant problems facing society. While science plays a unique role in society, providing the best available evidence for policy choices, understanding the world, and informing citizens’ daily lives, it does not hold any intrinsic advantage in creating captivating stories for mass audiences. Instead, science must compete with other storytellers, many of whom are not bound to scientific evidence. This presents a paradox—how can science preserve its credibility as curator of knowledge while engaging audiences with a communication format that is agnostic to truth?
Throughout history, storytelling has been an effective way of conveying information and knowledge. In the field of visualization, storytelling is rapidly gaining momentum and evolving cutting-edge techniques that enhance understanding. Many communities have commented on the importance of storytelling in data visualization. Storytellers tend to be integrating complex visualizations into their narratives in growing numbers. In this paper, we present a survey of storytelling literature in visualization and present an overview of the common and important elements in storytelling visualization. We also describe the challenges in this field as well as a novel classification of the literature on storytelling in visualization. Our classification scheme highlights the open and unsolved problems in this field as well as the more mature storytelling sub-fields. The benefits offer a concise overview and a starting point into this rapidly evolving research trend and provide a deeper understanding of this topic.
In this paper, we present story curves, a visualization technique for exploring and communicating nonlinear narratives in movies. A nonlinear narrative is a storytelling device that portrays events of a story out of chronological order, e.g., in reverse order or going back and forth between past and future events. Many acclaimed movies employ unique narrative patterns which in turn have inspired other movies and contributed to the broader analysis of narrative patterns in movies. However, understanding and communicating nonlinear narratives is a difficult task due to complex temporal disruptions in the order of events as well as no explicit records specifying the actual temporal order of the underlying story. Story curves visualize the nonlinear narrative of a movie by showing the order in which events are told in the movie and comparing them to their actual chronological order, resulting in possibly meandering visual patterns in the curve. We also present Story Explorer, an interactive tool that visualizes a story curve together with complementary information such as characters and settings. Story Explorer further provides a script curation interface that allows users to specify the chronological order of events in movies. We used Story Explorer to analyze 10 popular nonlinear movies and describe the spectrum of narrative patterns that we discovered, including some novel patterns not previously described in the literature. Feedback from experts highlights potential use cases in screenplay writing and analysis, education and film production. A controlled user study shows that users with no expertise are able to understand visual patterns of nonlinear narratives using story curves.
Although storytelling often has negative connotations within science, narrative formats of communication should not be disregarded when communicating science to nonexpert audiences. Narratives offer increased comprehension, interest, and engagement. Nonexperts get most of their science information from mass media content, which is itself already biased toward narrative formats. Narratives are also intrinsically persuasive, which offers science communicators tactics for persuading otherwise resistant audiences, although such use also raises ethical considerations. Future intersections of narrative research with ongoing discussions in science communication are introduced.
At the time of the publication of Seymour Chatman's volume (and this review), much of the academic discourse about film narratives was based on literary paradigms. This review points out that Chatman focused far more on literature than cinema, and that the entire field of film studies was using theoretical literary models to analyze motion pictures. this review argues for cinema-centric methodologies of the "narrative contract."
Since then, the film studies discipline HAS developed such theoretical models that utilize the specificity of the cinema -- camera angles, lighting, editing, music, POV, etc. -- to explore how mood and meaning are inscribed in a film text -- and communicated to spectators.
Developing structural geological models from exploratory subsea imaging is difficult and an ill-posed process. Therefore, in practice several experts generate a larger number of geological interpretations. This leads to the situation that a number of geological sketches are prepared and examined for the next steps in the oil and gas exploration pipeline. In this paper, we present Geological Storytelling, a novel graphical approach for performing rapid and expressive geomodeling of a multitude of model variations. The solution builds on a flip-over metaphor for sketching the individual steps in a story that externalizes the mental steps the modeler performs when developing the model. The stories, through the discrete story steps, are then visualized in a Story Tree for easy access and management. This tree also provides the interface for individual story playback and examination, or comparative visualization of several stories. With our approach, the experts can rapidly sketch geological stories that both visualize the proposed model of today's geology and visualize how the expert derived this model. Presenting the model as a visual story helps the peers to evaluate the geological soundness of the model. We have developed geological storytelling in collaboration with domain experts that work with such challenges on a daily basis. Our focus of this work has been on models derived from single seismic slices. We have implemented a prototype of Geological Storytelling to demonstrate our concept and to get domain expert feedback.
Behavioral categories of functional imaging experiments along with standardized brain coordinates of associated activations were used to develop a method to automate regional behavioral analysis of human brain images. Behavioral and coordinate data were taken from the BrainMap database (http://www.brainmap.org/), which documents over 20 years of published functional brain imaging studies. A brain region of interest (ROI) for behavioral analysis can be defined in functional images, anatomical images or brain atlases, if images are spatially normalized to MNI or Talairach standards. Results of behavioral analysis are presented for each of BrainMap's 51 behavioral sub-domains spanning five behavioral domains (Action, Cognition, Emotion, Interoception, and Perception). For each behavioral sub-domain the fraction of coordinates falling within the ROI was computed and compared with the fraction expected if coordinates for the behavior were not clustered, i.e., uniformly distributed. When the difference between these fractions is large behavioral association is indicated. A z-score ≥ 3.0 was used to designate statistically significant behavioral association. The left-right symmetry of ~100K activation foci was evaluated by hemisphere, lobe, and by behavioral sub-domain. Results highlighted the classic left-side dominance for language while asymmetry for most sub-domains (~75%) was not statistically significant. Use scenarios were presented for anatomical ROIs from the Harvard-Oxford cortical (HOC) brain atlas, functional ROIs from statistical parametric maps in a TMS-PET study, a task-based fMRI study, and ROIs from the ten "major representative" functional networks in a previously published resting state fMRI study. Statistically significant behavioral findings for these use scenarios were consistent with published behaviors for associated anatomical and functional regions.
Automated image analysis of the brain should include measures of fundamental structural features such as size and shape. We used principal axes (P-A) measurements to measure overall size and shape of brain structures segmented from MR brain images. The rationale was that quantitative volumetric studies of brain structures would benefit from shape standardization as had been shown for whole brain studies. P-A analysis software was extended to include controls for variability in position and orientation to support individual structure spatial normalization (ISSN). The rationale was that ISSN would provide a bias-free means to remove elementary sources of a structure's spatial variability in preparation for more detailed analyses. We studied nine brain structures (whole brain, cerebral hemispheres, cerebellum, brainstem, caudate, putamen, hippocampus, inferior frontal gyrus, and precuneus) from the 40-brain LPBA40 atlas. This paper provides the first report of anatomical positions and principal axes orientations within a standard reference frame, in addition to "shape/size related" principal axes measures, for the nine brain structures from the LPBA40 atlas. Analysis showed that overall size (mean volume) for internal brain structures was preserved using shape standardization while variance was reduced by more than 50%. Shape standardization provides increased statistical power for between-group volumetric studies of brain structures compared to volumetric studies that control only for whole brain size. To test ISSN's ability to control for spatial variability of brain structures we evaluated the overlap of 40 regions of interest (ROIs) in a standard reference frame for the nine different brain structures before and after processing. Standardizations of orientation or shape were ineffective when not combined with position standardization. The greatest reduction in spatial variability was seen for combined standardizations of position, orientation and shape. These results show that ISSNs automated processing can be a valuable asset for measuring and controlling variability of fundamental features of brain structures.
Anatomical global spatial normalization (aGSN) is presented as a method to scale high-resolution brain images to control for variability in brain size without altering the mean size of other brain structures. Two types of mean preserving scaling methods were investigated, “shape preserving” and “shape standardizing”. aGSN was tested by examining 56 brain structures from an adult brain atlas of 40 individuals (LPBA40) before and after normalization, with detailed analyses of cerebral hemispheres, all gyri collectively, cerebellum, brainstem, and left and right caudate, putamen, and hippocampus. Mean sizes of brain structures as measured by volume, distance, and area were preserved and variance reduced for both types of scale factors. An interesting finding was that scale factors derived from each of the ten brain structures were also mean preserving. However, variance was best reduced using whole brain hemispheres as the reference structure, and this reduction was related to its high average correlation with other brain structures. The fractional reduction in variance of structure volumes was directly related to ρ
2, the square of the reference-to-structure correlation coefficient. The average reduction in variance in volumes by aGSN with whole brain hemispheres as the reference structure was approximately 32%. An analytical method was provided to directly convert between conventional and aGSN scale factors to support adaptation of aGSN to popular spatial normalization software packages.
This paper investigates how to make data comics interactive. Data comics are an effective and versatile means for visual communication, leveraging the power of sequential narration and combined textual and visual content, while providing an overview of the storyline through panels assembled in expressive layouts. While a powerful static storytelling medium that works well on paper support, adding interactivity to data comics can enable non-linear storytelling, personalization, levels of details, explanations, and potentially enriched user experiences. This paper introduces a set of operations tailored to support data comics narrative goals that go beyond the traditional linear, immutable storyline curated by a story author. The goals and operations include adding and removing panels into pre-defined layouts to support branching, change of perspective, or access to detail-on-demand, as well as providing and modifying data, and interacting with data representation, to support personalization and reader-defined data focus. We propose a lightweight specification language, COMICSCRIPT, for designers to add such interactivity to static comics. To assess the viability of our authoring process, we recruited six professional illustrators, designers and data comics enthusiasts and asked them to craft an interactive comic, allowing us to understand authoring workflow and potential of our approach. We present examples of interactive comics in a gallery. This initial step towards understanding the design space of interactive comics can inform the design of creation tools and experiences for interactive storytelling.
The web has matured as a publishing platform: news outlets regularly publish rich, interactive stories while technical writers use animation and interaction to communicate complex ideas. This style of interactive media has the potential to engage a large audience and more clearly explain concepts, but is expensive and time consuming to produce. Drawing on industry experience and interviews with domain experts, we contribute design tools to make it easier to author and publish interactive articles. We introduce Idyll, a novel "compile-to-the-web" language for web-based interactive narratives. Idyll implements a flexible article model, allowing authors control over document style and layout, reader-driven events (such as button clicks and scroll triggers), and a structured interface to JavaScript components. Through both examples and first-use results from undergraduate computer science students, we show how Idyll reduces the amount of effort and custom code required to create interactive articles.
Der Band bietet eine fundierte Untersuchung neuer Darstellungsformen zur Hintergrundinformation im stationären und mobilen Internet. Dabei werden sowohl die Nutzererwartungen, die Rezeptionsvorgänge, die Produktionsbedingungen als auch die Angebote im Journalismus und Corporate Publishing analysiert. Der Fokus liegt dabei auf Formen des digitalen Storytelling, nichtlinearen Erzählstrukturen sowie publizistischen und ökonomischen Chancen.
Der Inhalt
Digitalisierte Öffentlichkeit im Wandel.- Rahmenbedingungen der Rezeption und Produktion digitaler Langformen.- Storytelling mit digitalen Langformen.- Forschungsfragen.- Methodisches Design.- Ergebnisse Rezeption: Bekanntheit und Erwartungen.- Ergebnisse Rezeption: Usability und Rezeptionsmuster.- Ergebnisse Produktion: Bedingungen und Motive.- Ergebnisse Gestaltung: Themen und Internetspezifika.- Implikationen
Die Zielgruppen
Studierende, Lehrende und Forschende der Kommunikations- und Medienwissenschaft sowie der Journalistik und Public Relations
Praktikerinnen und Praktiker aus Journalismus und Corporate Publishing
Die Autoren
Dr. Alexander Godulla ist Professor für Kommunikation und Medienlehre an der Hochschule Würzburg-Schweinfurt und Privatdozent an der Universität Passau.
Dr. Cornelia Wolf ist Juniorprofessorin für Online-Kommunikation am Institut für Kommunikations- und Medienwissenschaft der Universität Leipzig.
Data visualization is now a popular medium for journalistic storytelling. However, current visualization tools either lack support for storytelling or require significant technical expertise. Informed by interviews with journalists, we introduce a model of storytelling abstractions that includes state-based scene structure, dynamic annotations and decoupled coordination of multiple visualization components. We instantiate our model in Ellipsis: a system that combines a domain-specific language (DSL) for storytelling with a graphical interface for story authoring. User interactions are automatically translated into statements in the Ellipsis DSL. By enabling storytelling without programming, the Ellipsis interface lowers the threshold for authoring narrative visualizations. We evaluate Ellipsis through example applications and user studies with award-winning journalists. Study participants find Ellipsis to be a valuable prototyping tool that can empower journalists in the creation of interactive narratives.
Presentation-specifically, its use of elements from storytelling-is the next logical step in visualization research and should be a focus of at least equal importance with exploration and analysis.
Interactive visualizations can allow science museum visitors to explore new worlds by seeing and interacting with scientific data. However, designing interactive visualizations for informal learning environments, such as museums, presents several challenges. First, visualizations must engage visitors on a personal level. Second, visitors often lack the background to interpret visualizations of scientific data. Third, visitors have very limited time at individual exhibits in museums. This paper examines these design considerations through the iterative development and evaluation of an interactive exhibit as a visualization tool that gives museumgoers access to scientific data generated and used by researchers. The exhibit prototype, Living Liquid, encourages visitors to ask and answer their own questions while exploring the time-varying global distribution of simulated marine microbes using a touchscreen interface. Iterative development proceeded through three rounds of formative evaluations using think-aloud protocols and interviews, each round informing a key visualization design decision: (1) what to visualize to initiate inquiry, (2) how to link data at the microscopic scale to global patterns, and (3) how to include additional data that allows visitors to pursue their own questions. Data from visitor evaluations suggests that, when designing visualizations for public audiences, one should (1) avoid distracting visitors from data that they should explore, (2) incorporate background information into the visualization, (3) favor understandability over scientific accuracy, and (4) layer data accessibility to structure inquiry. Lessons learned from this case study add to our growing understanding of how to use visualizations to actively engage learners with scientific data.
The System Usability Scale (SUS) is an inexpensive, yet effective tool for assessing the usability of a product, including Web sites, cell phones, interactive voice response systems, TV applications, and more. It provides an easy-to-understand score from 0 (negative) to 100 (positive). While a 100-point scale is intuitive in many respects and allows for relative judgments, information describing how the numeric score translates into an absolute judgment of usability is not known. To help answer that question, a seven-point adjective-anchored Likert scale was added as an eleventh question to nearly 1,000 SUS surveys. Results show that the Likert scale scores correlate extremely well with the SUS scores (r=0.822). The addition of the adjective rating scale to the SUS may help practitioners interpret individual SUS scores and aid in explaining the results to non-human factors professionals.
Large 2D information spaces, such as maps, images, or abstract vi- sualizations, require views at various level of detail: Close ups to inspect details, overviews to maintain (literally) an overview. Users often switch between these views. We discuss how smooth ani- mations from one view to another can be defined. To this end, a metric on the effect of simultaneous zooming and panning is de- fined, based on an estimate of the perceived velocity. Optimal is defined as smooth and efficient. Given the metric, these terms can be translated into a computational model, which is used to calcu- late an analytic solution for optimal animations. The model has two free parameters: animation speed and zoom/pan trade-off. A user experiment to find good values for these is described.
In this paper we present a novel approach to volume visualization for presentation purposes that improves both the comprehensibility and credibility of the intended visualization message. Therefore, we combine selected aspects from storytelling as well as from interactive volume visualization to create a guided but at the same time interactive visualization presentation approach. To ease the observer's access to a presented visualization result we not only communicate the result itself, but also deliver its creational process in the form of an annotated visualization animation, which we call a visualization story. Additionally, we enable variable means of interactivity during story playback. The story observers may just watch the presentation passively, but they are also allowed to reinvestigate the visualization independently from story guidance, offering the ability to verify, confirm, or even disapprove the presented visualization message. For demonstration purposes, we developed a prototype application that provides tools to author, edit, and watch visualization stories. We demonstrate the potential of our approach on the basis of medical visualization examples.
Scientists frequently tell stories using visualizations of scientific data, in the process of disseminating findings to peers and the general public. However, techniques and methods for effective scientific storytelling have received little attention so far. This article explores how literary and theatrical narrative conventions can inform the design and presentation of visualizations, and discusses the challenges of adapting scientific visualizations for broader audiences. It also summarizes recent workshops' findings on the role of storytelling in visualizations, and presents several examples of successful scientific-storytelling production teams. The conclusion is that scientific storytelling deserves greater support and recognition by the visualization community.
A useful starting point for designing advanced graphical user interfaces is the visual information seeking Mantra: overview first, zoom and filter, then details on demand. But this is only a starting point in trying to understand the rich and varied set of information visualizations that have been proposed in recent years. The paper offers a task by data type taxonomy with seven data types (one, two, three dimensional data, temporal and multi dimensional data, and tree and network data) and seven tasks (overview, zoom, filter, details-on-demand, relate, history, and extracts)
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He is also affiliated with the Mohn Medical Imaging and Visualization (MMIV) center at the Haukeland University Hospital. In his PhD, he researches visualization techniques for multimodal medical imaging data. He received his masters' degree in
Eric Mörth is a PhD candidate in the visualization
research group at the Univ. of Bergen, Norway
since 2019. He is also affiliated with the Mohn
Medical Imaging and Visualization (MMIV) center
at the Haukeland University Hospital. In his PhD,
he researches visualization techniques for multimodal medical imaging data. He received his
masters' degree in Medical Informatics in 2018
from the Medical University of Vienna and his
master's degree in Biomedical Engineering in
2019 from the Technical University of Vienna.