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Interactive Cartographic Storytelling with Complex Spatio-Temporal Structures and Social Connections
Abstract
In this paper, we describe the design of an interactive cartographic storytelling platform for the 1906 Atlanta Race Massacre, a horrific incident that had a profound impact on the civil and human rights movement in the United States. This four-day event happened at various locations in downtown Atlanta and involved many people. Although multiple books and articles have been written about the 1906 Atlanta Race Massacre, they described the past events using conventional storytelling methods. We want to tell this story from a cartographic perspective because the locations are essential to this story. We also want to connect the past with the present because most people walking on the same streets today do not know the history and significance of the locations. Furthermore, most people are unaware that some major institutions are intricately connected to the people involved in the 1906 events. Telling the story this way requires us to handle a complex spatio-temporal structure and an extensive social network, which is unusual in traditional cartographic storytelling. In this paper, we discuss our design decisions and rationals. We believe our discussion will benefit other interactive story designers who deal with similar complex stories.KeywordsInteractive narrative designCartographic storytellingHistorical eventCase studies
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In this article, I review considerations and techniques for approaching cartographic design as visual storytelling. Stories, like maps, are a method for documenting and explaining, for meaningfully abstracting our experiences, for communicating and sharing, and for asserting a particular worldview. I argue that visual storytelling offers an entry point for hybridization in cartography, uniting technology with praxis, product with process, and design with critique while opening rich new avenues for transdisciplinary research and design. I begin by introducing influences on map-based visual storytelling and review ten recurring themes that make visual storytelling different from traditional perspectives on cartographic design. I then offer three of potentially many ways to articulate and organize the design space for map-based visual storytelling: foundational narrative elements and their adaptation to geographic phenomena and processes, visual storytelling genres delineating different story experiences, and visual storytelling tropes used to advance narratives across text, maps, images, and other multimedia. I conclude with a call for future research on visual storytelling in cartography, including visual design, visual ethics, and visual literacy.
This paper proposes three methods of association analysis that address two challenges of Big Data: capturing relatedness among real-world events in high data volumes, and modeling similar events that are described disparately under high data variability. The proposed methods take as input a set of geotemporally-encoded text streams about violent events called “storylines”. These storylines are associated for two purposes: to investigate if an event could occur again, and to measure influence, i.e., how one event could help explain the occurrence of another. The first proposed method, Distance-based Bayesian Inference, uses spatial distance to relate similar events that are described differently, addressing the challenge of high variability. The second and third methods, Spatial Association Index and Spatio-logical Inference, measure the influence of storylines in different locations, dealing with the high-volume challenge. Extensive experiments on social unrest in Mexico and wars in the Middle East showed that these methods can achieve precision and recall as high as 80 % in retrieval tasks that use both keywords and geospatial information as search criteria. In addition, the experiments demonstrated high effectiveness in uncovering real-world storylines for exploratory analysis. © 2016 Springer Science+Business Media New York (outside the USA)
Social media have ushered in alternative modalities to propagate news and developments rapidly. Just as traditional IR matured to modeling storylines from search results, we are now at a point to study how stories organize and evolve in additional mediums such as Twitter, a new frontier for intelligence analysis. This study takes as input news articles as well as social media feeds and extracts and connects entities into interesting storylines not explicitly stated in the underlying data. First, it proposes a novel method of spatio-temporal analysis on induced concept graphs that models storylines propagating through spatial regions in a time sequence. Second, it describes a method to control search space complexity by providing regions of exploration. And third, it describes ConceptRank as a ranking strategy that differentiates strongly-typed connections from weakly-bound ones. Extensive experiments on the Boston Marathon Bombings of April 15, 2013 as well as socio-political and medical events in Latin America, the Middle East, and the United States demonstrate storytelling’s high application potential, showcasing its use in event summarization and association analysis that identifies events before they hit the newswire. © 2015 Springer Science+Business Media New York (outside the USA)
This paper provides an overview of the multiple ways of envisioning the relationships between maps and narratives. This is approached from a map making perspective. Throughout the process of editing this special issue, we have identified two main types of relationships. Firstly, maps have been used to represent the spatio-temporal structures of stories and their relationships with places. Oral, written and audio-visual stories have been mapped extensively. They raise some common cartographic challenges, such as improving the spatial expression of time, emotions, ambiguity, connotation, as well as the mixing of personal and global scales, real and fictional places, dream and reality, joy and pain. Secondly, the potential of maps as narratives and the importance of connecting the map with the complete mapping process through narratives is addressed. Although the potential of maps to tell stories has already been widely acknowledged, we emphasize the increasing recognition of the importance of developing narratives that critically describe the cartographic process and context in which maps unfold - the core idea of post-representational cartography. Telling the story about how maps are created and how they come to life in a broad social context and in the hands of their users has become a new challenge for mapmakers.
Narratives and places are deeply connected. Places often contribute to the shaping of a story, just as stories contribute to the production of spatial identities. Mapping narratives can thus have a double goal: to explore the geographic structure of a story, and to better understand the impact of stories on the production of places. While it may be easy to locate narratives as points on a map, this type of representation is rarely relevant in capturing and characterising the complex spatio-temporal dimensions of the narratives. In this paper, we present a cyber-cartographic application designed to address this issue and provide solutions to help properly map some of the many dimensions of narratives, including the places of the narration (geography), the connection between these places (geometry), as well as the temporal dimension inherent to storytelling. This application, originally developed to map contemporary Canadian cinematographic narratives (see examples here: http://scaquard.classone-tech.com/), opens new perspectives and raises a range of issues to mapping a multitude of stories, including fictional work, vernacular knowledge, personal experience and collective memories.
Reporting results and promoting ideas in science in general, and Earth science in particular, is treated here as storytelling. Just as in literature and drama, storytelling in Earth science is characterized by a small number of basic plots. Though the list is not exhaustive, and acknowledging that multiple or hybrid plots and subplots are possible in a single piece, eight standard plots are identified, and examples provided: cause-and-effect, genesis, emergence, destruction, metamorphosis, convergence, divergence, and oscillation. The plots of Earth science stories are not those of literary traditions, nor those of persuasion or moral philosophy, and de-serve separate consideration. Earth science plots do not conform those of storytelling more generally, imply-ing that Earth scientists may have fundamentally different motivations than other storytellers, and that the basic plots of Earth Science derive from the characteristics and behaviors of Earth systems. In some cases preference or affinity to different plots results in fundamentally different interpretations and conclusions of the same evidence. In other situations exploration of additional plots could help resolve scientific contro-versies. Thus explicit acknowledgement of plots can yield direct scientific benefits. Consideration of plots and storytelling devices may also assist in the interpretation of published work, and can help scientists improve their own storytelling.
The modelling, analysis, and visualisation of dynamic geospatial phenomena
has been identified as a key developmental challenge for next-generation
Geographic Information Systems (GIS). In this context, the envisaged
paradigmatic extensions to contemporary foundational GIS technology raises
fundamental questions concerning the ontological, formal representational, and
(analytical) computational methods that would underlie their spatial
information theoretic underpinnings.
We present the conceptual overview and architecture for the development of
high-level semantic and qualitative analytical capabilities for dynamic
geospatial domains. Building on formal methods in the areas of commonsense
reasoning, qualitative reasoning, spatial and temporal representation and
reasoning, reasoning about actions and change, and computational models of
narrative, we identify concrete theoretical and practical challenges that
accrue in the context of formal reasoning about `space, events, actions, and
change'. With this as a basis, and within the backdrop of an illustrated
scenario involving the spatio-temporal dynamics of urban narratives, we address
specific problems and solutions techniques chiefly involving `qualitative
abstraction', `data integration and spatial consistency', and `practical
geospatial abduction'. From a broad topical viewpoint, we propose that
next-generation dynamic GIS technology demands a transdisciplinary scientific
perspective that brings together Geography, Artificial Intelligence, and
Cognitive Science.
Keywords: artificial intelligence; cognitive systems; human-computer
interaction; geographic information systems; spatio-temporal dynamics;
computational models of narrative; geospatial analysis; geospatial modelling;
ontology; qualitative spatial modelling and reasoning; spatial assistance
systems
The Battle of Hastings (1066) is one of the most widely studied battles in medieval history. Yet despite the importance that research shows geography to play in the outcome of such conflicts, academic studies on the battle have yet to provide a researched-based cartographic analysis of the battle. This study, consequently, seeks to map the battle to scale to examine the size and impact of geographic factors in understanding the events that shaped the battle. The analysis was undertaken using a geographic information system (GIS) with qualitative and quantitative techniques. Historical and current data were combined in a series of detailed state of the art maps to bring an entirely new perspective to the nearly millennium long literature on the battle. Factors considered in the study included previous interpretations of battlefields, literary GIS, cartographic depictions of units and a cartographic narrative of the battle. Among the findings of this study were a firm demonstration of the importance of cartographic-based analysis in understanding the size of a medieval battlefield and the development of a literary military account.
Throughout history, maps have been used as a tool to explore cities. They visualize a city's urban fabric through its streets, buildings, and points of interest. Besides purely navigation purposes, street names also reflect a city's culture through its commemorative practices. Therefore, cultural maps that unveil socio-cultural characteristics encoded in street names could potentially raise citizens' historical awareness. But designing effective cultural maps is challenging, not only due to data scarcity but also due to the lack of effective approaches to engage citizens with data exploration. To address these challenges, we collected a dataset of 5,000 streets across the cities of Paris, Vienna, London, and New York, and built their cultural maps grounded on cartographic storytelling techniques. Through data exploration scenarios, we demonstrated how cultural maps engage users and allow them to discover distinct patterns in the ways these cities are gender-biased, celebrate various professions, and embrace foreign cultures.
Maps are good at representing geographic space, but texts have a stronger affordance of telling a story than maps. Telling stories is, however, important to make information more personal and to arrest the map user's attention. This paper contrasts the map and the text media in order to understand why texts are good at telling a story but conventional maps are not. We demonstrate that, by a modification of maps, appropriate structural features of the text media can be transferred to maps, which makes them more suitable for telling stories. This new concept for map design can lead to new interaction possibilities and provide insights into how maps can be used more effectively.
James Joyce once stated that his goal in writing Ulysses was “to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth, it could be reconstructed out of my book.”1 I imagine that readers of Ulysses, even those with a strong background in geography or urban planning, would find it difficult to discern the blueprint of Dublin in the text of the modernist novel, but the cartographic impulse, broadly conceived, in Joyce’s fiction is certainly apparent. From the meticulous descriptions of recognizable locales to the more implicit, affective geography of the intellectual and emotional content of the narrative, a work like Ulysses provides readers a map of the diverse spaces represented in it. Indeed, although certain narratives may be more ostensibly cartographic than others, all may be said to constitute forms of literary cartography. In works of fiction, in which the imaginative faculty is perhaps most strongly connected to the verbal and descriptive, this mapmaking project becomes central to the aims and the effects of the narrative. In the words of J. Hillis Miller, “A novel is a figurative mapping.”2
During the hot summer of 1906, anger simmered in Atlanta, a city that outwardly savored its reputation as the Gate City of the New South, a place where the races lived peacefully, if apart, and everyone focused more on prosperity than prejudice. But racial hatred came to the forefront during a heated political campaign, and the city's newspapers fanned its flames with sensational reports alleging assaults on white women by black men. The rage erupted in late September, and, during one of the most brutal race riots in the history of America, roving groups of whites attacked and killed at least twenty-five blacks. After four days of violence, black and white civic leaders came together in unprecedented meetings that can be viewed either as concerted public relations efforts to downplay the events or as setting the stage for Atlanta's civil rights leadership half a century later. Rage in the Gate City focuses on the events of August and September 1906, offering readers a tightly woven narrative account of those eventful days. Fast-paced and vividly detailed, it brings history to life. As June Dobbs Butts writes in her foreword, "For too long, this chapter of Atlanta's history was covered up, or was explained away. . . . Rebecca Burns casts the bright light of truth upon those events." © 2009 by the University of Georgia Press. All rights reserved.
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.
Narrative visualizations combine conventions of communicative and exploratory information visualization to convey an intended story. We demonstrate visualization rhetoric as an analytical framework for understanding how design techniques that prioritize particular interpretations in visualizations that "tell a story" can significantly affect end-user interpretation. We draw a parallel between narrative visualization interpretation and evidence from framing studies in political messaging, decision-making, and literary studies. Devices for understanding the rhetorical nature of narrative information visualizations are presented, informed by the rigorous application of concepts from critical theory, semiotics, journalism, and political theory. We draw attention to how design tactics represent additions or omissions of information at various levels-the data, visual representation, textual annotations, and interactivity-and how visualizations denote and connote phenomena with reference to unstated viewing conventions and codes. Classes of rhetorical techniques identified via a systematic analysis of recent narrative visualizations are presented, and characterized according to their rhetorical contribution to the visualization. We describe how designers and researchers can benefit from the potentially positive aspects of visualization rhetoric in designing engaging, layered narrative visualizations and how our framework can shed light on how a visualization design prioritizes specific interpretations. We identify areas where future inquiry into visualization rhetoric can improve understanding of visualization interpretation.
Data visualization is regularly promoted for its ability to reveal stories within data, yet these “data stories” differ in important ways from traditional forms of storytelling. Storytellers, especially online journalists, have increasingly been integrating visualizations into their narratives, in some cases allowing the visualization to function in place of a written story. In this paper, we systematically review the design space of this emerging class of visualizations. Drawing on case studies from news media to visualization research, we identify distinct genres of narrative visualization. We characterize these design differences, together with interactivity and messaging, in terms of the balance between the narrative flow intended by the author (imposed by graphical elements and the interface) and story discovery on the part of the reader (often through interactive exploration). Our framework suggests design strategies for narrative visualization, including promising under-explored approaches to journalistic storytelling and educational media.
Slavery by another name: the re-enslavement of black people in America from the Civil War to World War II
- D A Blackmon
Slave Revolt in Jamaica
- V Brown
A conceptual framework for interactive cartographic storytelling
- N A L Cortes
Teaching About the Tulsa Race Massacre With The New York Times
- N Daniels
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115 years ago, a deadly race riot reshaped atlanta
- E Suggs
The atlanta race riot of 1906: Why it matters 107 years later
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Patterns in award winning data storytelling
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Introduction: Mapping narratives. Literary Cartographies
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