Between Art, Science and Technology: Data Representation Architecture

Leonardo

Between Art, Science and Technology: Data Representation ArchitectureAuthor(s): Julio Bermúdez, Jim Agutter, Stefano Foresti, Dwayne Westenskow, Noah Syroid,Frank Drews and Elizabeth TashjianSource: Leonardo, Vol. 38, No. 4 (2005), pp. 280-285, 296-297Published by: The MIT PressStable URL: http://www.jstor.org/stable/20206068 .

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3



Between Art, Science

and Technology: Data

Representation Architecture

fulio Berm?dez, ?m Agutter, Stefano Foresti, Dwayne Westenskow, Noah Syroid, Frank Drews and Elizabeth Tashjian

The Growing Challenges of a data-saturated world

We are living in a world overflowing with information [ 1 ]. Mil

lions of labs and scientists across the globe are continually con

ducting millions of experiments, observations and analyses,

producing ever-growing amounts of information. Our ordi

nary lives have become data traces, too: ATM and credit card

transactions, on-line registration of software, cellular phone calls and so on. Security concerns after 9/11 have only inten

sified this demand for and accumulation of data. The central

issue has shifted from getting data to making sense of it.

Over 20 years of work in scientific visualization, human fac

tors and semiotics indicates that there exists a direct correla

tion between how data is represented and the meaning that

can be extracted from it. Better representations mean better

understanding. In fact, the way that data is presented has an

overwhelming weight in how a system or situation is perceived and what ultimately drives decision-making processes, not only

for science but for public policy as

well [2]. Currently, there is wide

agreement that visualization is the

best representational method for

turning complex data into infor

mation [31.

Although there has been much work in the visualization de

sign area, scientists and other data producers and end users

are only beginning to tap the possibilities of communicating data visually. There are many well-documented examples of

inappropriate decisions based upon poorly presented infor

mation, often leading to disastrous effects (from the crisis at

the Shearon Harris nuclear power plant in 1979 and the Chal

lenger and Chernobyl disasters in 1985 to the breakdown in

intelligence-sharing leading to 9/11). Yet more negative ef

fects may be found in the less spectacular but more pervasive

Fig. 1. A contemporary display of physiologic data in anesthesi

ology by Hewlett Packard. (Photo ? Julio Bermudez) Traditional

representations are characterized by numerical-waveform

(as opposed to geometrically graphic), discrete (as opposed to integrated) and non-interactive data representations.

UM

ABSTRACT

Ms our civilization continues to dive deeper into the information

age, making sense of complex data becomes critical. This work takes on this challenge by means of a novel method based on complete interdisciplinary, design process and built-in evaluations. The result is the

design, construction, testing and deployment of data environ ments supporting real-time

decision-making in such diverse domains as anesthesiology and live art performance. Fundrais

ing success, technology licens

ing, market implementation and

many live art performances provide evidence of the great potential of committed interdisci

plinary work for advancing science, art and technology while benefiting society at large.

Julio Berm?dez, University of Utah, College of Architecture + Planning, 375 S 1530 E, Room 235, Salt Lake City, UT 84112, U.S.A. E-mail: <bermudez@ arch.ntah.edu>.

Jim Agutter, College of Architecture + Planning, University of Utah. E-mail: <[email protected]>.

Stefano Foresti, Center for High Performing Computing, University of Utah. E-mail: <ste [email protected]>.

Dwayne Westenskovv, School of Medicine, University of Utah. E-mail: <dwayne@ remi.med.utah.edu>.

Noah Syroid, School of Medicine, University of Utah. E-mail: <[email protected]. utah.edu>.

Frank Drews, Department of Psychology, University of Utah. E-mail: <drews@ csbs.utah.edu>.

Elizabeth Tashjian, School of Business, University of Utah. E-mail: <[email protected]>.

Based on a paper presented at "Artists in Industry and the Academy," a special section of the 92nd Annual Conference of the College Art Association, Seattle, WA, 18-21 February 2004, for the panel "Art, Science, and Technology: Problems and Issues Facing an Emerg ing Interdisciplinary Field."

Article Frontispiece. cy&erPRINT representation of human

patient physiologic information undergoing critical cardiac and pulmonary events. (? Julio Bermudez and Jim Agutter)

?2005ISAST LEONARDO, Vol. 38, No. 4, pp. 280-285,2005 281



libo- ' %j^^^^Hv) iPBfil? ̂^^^^HflHfll^^_^^^^^^^^H

Fig. 2. Choreographer Yacov Sharir (University of Texas at Austin)

experimenting with cy&erPRINT technology. (? Julio Bermudez and Jim Agutter)

errors found in day-to-day information

driven operations, such as medical ser

vices, process control management, network monitoring and business opera tions [4]. The reasons for this worrisome

state of affairs include the persistence of

early 20th-century quantitative methods, a naive understanding of human cogni tion and the use of simplistic represen tation spaces that are inadequate to

address the complexity of 21st-century data environments. These factors im

pair the ability to produce good results.

For instance, current data displays in

anesthesiology (Fig. 1) fail to (1) group variables in physiologic sub-systems;

(2) assign priority and hierarchy to such

variables; (3) recognize functional rela

tionships between variables; (4) use color

and other design attributes to provide

meaning; and (5) provide intuitive un

derstanding (people often require a year of training to master them). As a re

sult, experts (i.e. anesthesiologists) have

the cognitively demanding and error

fraught task of correctly associating the

variables in real time to diagnose clinical

scenarios.

The present shortcomings of data rep resentations can be traced back to the

production of information visualizations

by scientists and engineers, who gener

ally are trained in quantitative and not

qualitative methods, in analytical and not

integrative processes, in obtaining or us

ing?but not communicating?knowl

edge. The data representation challenge

confronting today's scientific and engi

neering communities may be summa

rized as follows:

Instead of concentrating on building more and more elaborate systems of

rules, there must be an effort to accom

modate the innate and vast human per ceptual capability. The deficiency in

many computer graphics presentations is not in the output volume, but in the

display itself. More intelligent computer programs are not needed, but more in

telligently designed computer displays are [5].

New approaches are needed that en

able data-based decision-making to be

faster and more accurate, to demand less

cognitive effort and to require less train

ing. Science and medicine need infor

mation visualization systems to address

the qualitative and symbolic dimensions

that can inform decision-makers with a

more holistic understanding. These sys tems must transform raw data into in

formation through a refinement process called "selected depiction," that is,

through methods that deliver defined

graphic representations for particular in

formation demands. Pursuing this work

demands interdisciplinary collaboration

among art, design, science and tech

nology.

On Data Representation Architecture and Interdisciplinary Collaboration For over 8 years, our research group, the

Center for the Representation of Multi

Dimensional Information (CROMDI) [6], has been working on the display of

information in five domains: anesthesi

ology, finance, process control, network

security and monitoring, and live art per formance. Our goal has been the devel

opment of a new generation of data

representation architectures that offer a

better alternative to existing models of

information visualization. We define data

representation architecture as the orga

nizational, functional, experiential and

media-technological order defining the

interaction between data, representation and user. The center's interdisciplinary core group is composed of scholars and

practitioners in widely different fields, in

cluding architecture, bio-engineering, business, communications, choreogra

phy and dance, defense, computer sci

ence, mathematics, medicine, music and

psychology.

Experience has taught us that certain

methods are more conducive than oth

ers to supporting interdisciplinary col

laboration. Three essential practices are

at the heart of our approach and method

ology: 1. The pursuit of a committed and sus

tained complete interdisciplinarity; 2. The utilization of the design pro

cess as the basic engine of this in

terdisciplinary methodology; and

3. The application of built-in evalua

tions throughout the process as

a quality-control mechanism that

feeds directly back into the design

development.

Complete Interdisciplinarity The growing use of the words interdisci

plinary and multidisciplinary demonstrates

the spreading realization that collabora

tion among scientists and professionals with diverse expertise and backgrounds is required to address today's complex

problems [7]. However, all "interdisci

plinary" efforts are not equivalent. Be

cause education and the professional world have induced very narrow special ization in recent decades, the terms in

terdisciplinary and multidisciplinary have

been used to describe collaborations in

volving slightly different disciplines, of

ten without careful consideration of

whether those disciplines are sufficient

to solve a problem. For instance, many

organizations study human behavior in

information environments, but few or

ganizations include individuals from the

humanities, design, the arts and com

munication.

Not surprisingly, research results com

ing out of narrow interdisciplinary efforts

are limited and often inadequate to ad

dress the complexity of real-world prob lems. Narrow interdisciplinarity tends to

fail in these situations because the indi

viduals involved often perceive the prob

lem-space in the same way and therefore

neglect to consider and respond to the

multifold dimensions that characterize

complex challenges. To respond to this

282 f?erm?dez et ai, Between Art, Science and Technology



important shortcoming, we coined the

term complete interdisciplinary to indicate

the involvement of all the disciplines that

are necessary and sufficient for the re

finement of raw data into useful infor

mation. This means a very wide and

diverse collection of fields encompassing the hard and social sciences, the hu

manities, and art and design. CROMDI

has been deliberately modeling its inter

disciplinary collaboration following com

plete interdisciplinarity.

Design Process as

Interdisciplinary Methodology Our work strategy initially was not set up to follow a design process methodology.

The process evolved naturally during the

first 2 years of collaborative work and has

remained constant since then. We "or

ganically" discovered that the most ef

fective information visualization tools for

decision-making are developed with an

iterative design process that permits a si

multaneous attention to multiple per

spectives, methods, skills and knowledge bases. We also found that the design

process allowed for a spontaneous and

natural way of socially engaging a wide

range of disciplines and individuals work

ing on a very difficult problem. This

experience corroborates existing knowl

edge that the design studio model in

general and the design process in partic ular are a successful working laboratory and methodology for addressing open

ended, fuzzy and multivariable problems

[8]. Although this finding may not seem unusual or surprising to designers, ar

chitects or artists, it was indeed an im

portant realization for collaborators from

other domains.

Built-in Evaluation Process

Developing successful data-representa tion architectures is also highly depend ent on a built-in evaluation/testing

process [9]. Here the contribution of the

psychology experts is of great impor tance. Human factors analysis provides the methodological knowledge necessary to evaluate the efficiency of new ways of

information representation. We use a traditional experimental ap

proach to evaluate the effectiveness of

the designs. Performance success be

tween an experimental group of subjects

using the new data representation is com

pared with a control group of subjects us

ing an ordinary data display. We employ different evaluation protocols adapted to

test design proposals at different levels

of development. In addition to more tra

ditional measures such as quality and

Fig. 3. Screens of software running B W^? '^^^^B' "'^^^H I ^B9 the cyfterPRINT project. (?Julio I ^H ^^^H ^H I ̂̂ H Berm?dez and Jim Agutter) ^^K^^H ^^^^^^B^^H I

response time of performance, we use

eyetracking technology to assess gaze and

focus of viewing. This approach helps us

evaluate performance over a broad range of domains and at different levels of de

sign development. This process mini

mizes alterations to the requirements and

the design late in the display design's life

cycle, when changes are more costly (e.g. a change during the design phase is less

costly than a change after the display has

been deployed). Our group successfully implemented

this general built-in evaluation process for the development of information dis

plays in multiple domains [10]. Results

of our interdisciplinary work in two do

mains, anesthesiology and live art per

formance, exemplify the utility of this

method.

Anesthesiology

Anesthesiologists face unexpected inci

dents during 20% of all anesthetic pro cedures. Human error is associated with

more than 80% of critical incidents and

more than 50% of deaths [11]. Many er

rors can be directly traced to erroneous

or misleading information from moni

tors or to the physician's failure to rec

ognize a pattern in the data that would

have led to a correct diagnosis. The en

vironment is stressful and the task is

difficult, because 30 variables must be

monitored and mentally integrated by the caregiver. Anesthesiology displays use

a single-sensor, single-indicator paradigm in addition to the strip chart recorder

output Thomas Lewis used in 1912 for

the first ECG (see Fig. 1). Clinicians must observe and integrate

information generated by the independ ent sensors to observe significant changes. This process of sequential, piecemeal data gathering makes it difficult to de

velop a coherent understanding of the in

terrelationship between the presented information of physiological processes

across multiple parameters and over time

[12]. In order to address these matters,

we worked for 5 years to develop displays for detecting, diagnosing and treating critical events that significantly reduce

recognition times. Our data visualization

solutions offer a fundamental departure from the way the medical field presently detects, diagnoses and treats physiologic conditions. For example, Color Plate C

No. 2 shows our first completed data rep resentation design attempting to offer a

holistic view of the two major physiologic functions (cardiac and pulmonary) that

need monitoring during anesthesia. Our

work uses a spherical object to represent cardiac variables in conjunction with a

"background curtain" to depict respira

tory data. The behavior of each ellipsoid shows the cardiac state. For example,

movements up and down express

changes in blood pressure. Similarly, the

"curtain" object integrates respiratory data (tidal volumes, respiratory rate, ni

trous oxide, oxygen, etc.) and graphically allows a rapid and interrelated reading of

those physiologic variables.

Color Plate C Nos. la-lc illustrates sub

sequent design efforts to develop phys

iologic data displays presently not

available to physicians and anesthesiolo

gists that may result in significant im

provement in high-risk medical services.

Color Plate C No. la shows a sample screen of our Cardiovascular Data Dis

play. This design organizes measured and

modeled cardiovascular information vari

ables, showing functional relationships and including concepts such as preload afterload. A version of this data repre sentation architecture is now being

integrated to existing medical monitors.

Color Plate C No. lb presents our Pul

monary Data Display. This visualization

design offers respiratory data about pa tient and ventilator while showing func

tional relationships and essential gas

exchange information. Versions of this

data representation architecture are also

Berm?dez et ai, Between Art, Science and Technology 283



Fig. 4. Five still video captures from last live cyberPBINT performance at Oberlin College in May 2004. (? Julio Bermudez and Jim Agutter) Collaboration with Oberlin College faculty

Nusha Martynuk, Carter McAdams, Holly Handman and Tom Lopez.

being considered for implementation. Color Plate C No. lc portrays our Drug Data Display that delivers dynamic rep resentations of pharmacokinetic behav

ior while offering prediction information

and historical trending. A version of this

data representation architecture soon

will be commercially available for anes

thesiologists. As no comparable inte

grated visual display tools currently exist, we expect our display to have a positive

impact in the delivery of anesthesia.

Thorough scientific evaluations of

physiologic data displays by CROMDI and Dartmouth-Hitchcock Medical Cen

ter researcher George Blike have shown

statistically significant improvements in

performance in several critical scenarios

when compared to performance utiliz

ing traditional data displays [13]. For ex

ample: Clinicians detected anesthesia-related crit

ical events sooner (3.1 vs. 5.5 min) Abnormal events were diagnosed more ac

curately (error rate 1.1% vs. 4.1%) Problems were corrected in one-third the

time (17 sec vs. 45 sec)

Drug delivery was better controlled (EC95 error 21% vs. 44%) [14].

Live Art Performance: The cyberPWNT We are also working on a live art per formance project called the cyberFTHNT,

a real-time virtual-reality environment.

This electronic bio-feedback system is

driven by physiologic data drawn from a

performer via special sensors attached to

her body and transmitted wirelessly to

computers that, in turn, generate and

project a specially designed and pro

grammed 3D music world in real time.

Since the resulting virtual artifact repre sents the individual whose biological data

generate and sustain it, we refer to the

output as a "cyberPBJNT" or personal sig nature ofthat individual in digital space.

By enveloping its user with screen pro

jection and/or virtual-reality technolo

gies, the cyberPWNT allows individuals

to visualize, inhabit and interact with

themselves and others in unique ways. The resulting virtual construct offers

multiple expressive choices as its multi

dimensional character undergoes con

tinuous change (Article Frontispiece). The cyberPBINTjoins together the an

cient artistic tradition of depicting the

self and the body with emerging infor

mation technologies. The focus is the

graphic representation of a "becoming

self," that is, the creative expression of be

ing in time. Such "architecture of being," as we have termed it, requires us to

design, build and perform using physio

logic data as generating material. Work

ing in collaboration with composer Tom

Lopez, we have been able to use the same

physiologic signals as data input to gen

?rate automatic and interactive audio

compositions. The cyberPJUNT has been

performed nationally and internationally since May 2000 [15] (Figs 2-4 and Color Plate B).

Conclusion CROMDI's research exemplifies how art,

science and technology inform and in

fluence one another. The initial desire

to make the cyberPBINT launched our

research in data representation architec

ture in late 1995. It quickly became ap

parent that architects alone could not

produce this work without the coor

dinated help of other disciplines. Our

collaboration expanded to include anes

thesiologists, bio-engineers and com

puter scientists and further grew to

address other visualization problems while remaining committed to our orig inal art project. In other words, from the

beginning of the project, art has played an instrumental role as the impetus for

CROMDI, infusing the evolving research

agenda with a creative vision supported

by methods and processes from art and

design. In fact, many new scientific, tech

nological and design insights have been

conceived and implemented because of 'the

artistic development of the cyberPBINT. It is equally evident that science and tech

nology have had a strong impact in shap

ing our artwork.

We have found that there is a healthy, creative and mutually beneficial interac

tion between art, science and technology. Collaboration pushes the horizons of

each discipline beyond the ordinary. Our

research evidences the importance of

artistic expertise in the midst of scientific

projects and vice versa. It guarantees a

continuous flexibility and openness to

new ideas, approaches and technologies. For this reason, we are firm believers in

"complete interdisciplinarity." Our fund

ing success (over $4.7 million in grants),

technology licensing, market implemen tation of data displays and many live art

performances and exhibitions prove the

great potential of committed interdisci

plinary work to advance science, art and

technology, while benefiting society at

large. We are confident that new under

standing, ideas and products will arise

from serious interdisciplinary collabora

tions between art, science and technol

ogy. Such practices will surely alleviate if

not solve many of the growing data chal

lenges of the information age. However,

given the status quo, strong leadership will have to be exercised if art and design

professionals and academics are to pur

284 Berm?dez et ai, Between Art, Science and Technology



sue and teach cross-, inter-, and trans-dis

ciplinary work. The potential payoff is

enormous: a true renaissance in the role

of art and design in society.

Acknowledgments

This work has been made possible by grants from the National Institutes of Health (I-RO? HL64590-01), the University of Utah FCG (2000, 2004), the Utah Foundation (TIG 1997-1999) and the State of Utah Centers of Excellence program (2000-2005).

3

Berm?dez et al., Between Art, Science and Technology 285

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15. <www.arch.utah.edu/cyberprint/>.



Color Plate B

Three still video captures from Uve performances with Yacov Sharir

(circa 2000-2002). (? Julio Berm?dez and Jim Agutter) See article by Julio Berm?dez et al.

296



Color Plate C

No. 1. (a) Cardiovascular Data Display, (b) Pulmonary Data Display, (c) Drug Data Display. (?Julio Berm?dez and Jim Agutter) See article by Julio Berm?dez et al.

No. 2. CROMDI's visualization system for displaying physiologic data in real time. (? Julio Berm?dez and Jim Agutter) The spherical object represents cardiac variables: stroke volume, cardiac output and heart rate. Deformations from normal spherical shape show

non-optimal efficiency of a heartbeat. The "curtain" object (in the background, most visible in 3D view) integrates respiratory vari ables. By incorporating color to depict arterial oxygen saturation into the spherical object, there is achieved an immediate perceptual realization of the state of both essential physiologic functions. Compare to contemporary display shown in Fig. 1. of article by Julio Berm?dez et al.

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Between Art, Science and Technology: Data Representation Architecture