Unclassed Animated Choropleth Maps

Abstract

The potential of unclassed animated choropleth maps as a solution to false patterns of geographic change arising from data classification is investigated. Old concerns about unclassed choropleth maps may be mitigated through map interactivity that offers four advantages over traditional data legends, and previous insights from testing static choropleth maps do not necessarily translate to animated cartography. Data from user testing revealed unclassed animated choropleth maps neither help nor hurt the ability of map readers to understand patterns of geographic change. However, the unclassed map (1) appeared 'less jumpy' to participants and was perceived to run at a slower pace (despite running at the same number of frames per second), and (2) subtle geographic shifts (e.g., seasonal unemployment cycles) were more readily noticed on the unclassed maps. Preliminary results also suggest classed data emphasise stability over time – while their unclassed counterparts improve our ability to see changes. This paper also outlines animated simultaneous contrast as a new perceptual issue in the creation of animated choropleth maps.     

Geospatial Information Visualization User Interface Issues

User interfaces for geospatial information are the tools by which users interact with and explore that information. The provision of appropriate interface tools for exploiting the potential of contemporary geospatial visualization products is essential if they are to be used efficiently and effectively. This paper addresses issues and challenges in interface development and usage that are identified as paramount within the geospatial visualization community.     

Interactivity Types in Geographic Visualization

This paper introduces and discusses types of interactivity that can be used in digital mapping environments. The interactivity types are placed in the framework of geographic visualization (GVis) in order to extend the GVis emphasis on exploratory, interactive and private functions of spatial displays. After defining interactivity in general, four categories of interactivity are proposed: with (1) the Data; (2) the Data Representation; (3) the Temporal Dimension; and (4) Contextualizing Interaction. Three benefits of this typology are discussed. First, interactivity types can be combined to build an interactive environment. More powerful interactive mapping environments not only employ more interactivity types, but combine types from different categories. Second, the typology allows cartographers to compare and critique different mapping and GIS environments and gives cartography educators and students a mechanism for understanding the different types of interactivity, as well as a set of concepts for imagining and creating new interactive environments. Third, a typology of interactivity gives interface designers a mechanism with which to identify needs and measure interface effectiveness. In order to examine these issues in practice, two common interactive mapping environments are briefly examined to determine the interactivity types employed, and a measurable difference of interactive potential is obtained.     

A Visual Art Interface to an Embedded Sequence of Maps

The role of art in relation to maps is being reappraised on the basis of a perceived ability to depict aspects of a place that maps alone cannot. Many as opposed to one perspective on a place communicates more fully the essence of that place (with art as a valuable source of qualitative geospatial data) and so maps and art should be presented in the same visualization package. This paper outlines the development and implementation of an interface where a scanned painting forms the mode of access to an embedded sequence of maps. The interface is used to represent the history and habitat extent of the kea (alpine parrot) in New Zealand from pre human colonization times through to their present, limited range to a speculation on their future habitat. The painting and the map (in what has been termed in the literature as an anti-map / map combination) are in their own separate layers and joined by an interactive link. The interface harnesses the ability of visual art to aggregate multiple themes, locations and times into a single cohesive image, coupled with map composition and symbology that complements the painting. The ability to contain many temporal instances is close to the comic strip frame (and instances of Renaissance art) in particular, with, in this case, an implicit time frame from left to right on the painting. The use of an artistic image minimizes use of text to depict events, due to the visual and narrative power of the painting.