The right to information?

The following is a reflection and response to an exerpt from “Information Graphics” by Rendgen.

Graphics have been used to convey information for many centuries. From historical maps depicting extra information such as religious boundaries, to scientific graphics such as anatomical theories and abstractions, the need to convey information has long been explored. In today’s age with an ever growing abundance of available information, the need to synthesize this data is also growing. There has long been a debate at the core of information graphics that questions the relationship between design and facts. Scientists and statisticians had often assumed that “beautiful graphics tell lies.” While, on the other hand, designers and those in creative fields often put more emphasis on the aesthetics of the graphic. Within these two fields, (artistic and scientific) statisticians, designers, scientists, journalists and entrepreneurs alike, information graphics manifest in many different ways. However even among differing fields, the last ten years has brought about a growing common ground. The book “Information Graphics,” presents views from professionals in these different fields which demonstrate how their views may not be so different after all. Starting with the architect, Richard Saul Wurman is famous for his data design language, LATCH; standing for location, alphabet, time, category, and hierarchy. In studies of information storytelling, Wurman recognized the need for a sort of design language that would allow for a better understanding of the data being presented. Next, the journalist, Simon Rogers, details a growing demand by the public for legible data and information. He attributes this to the sheer growth in available raw data. Graphics allow journalists to visually portray data they are already writing about in a desirable way to their consumers. In the journalist realm, graphics tend to be less artistically abstracted as to be understood by more people. And finally, the scientist, Paolo Ciuccarelli. Ciuccarelli, even more than the other two professionals, explicitly demands the importance of the public in how information graphics are created. Although, in the past, a growing distance between scientists and the public prevented the crossover of information, the two realms are becoming increasingly connected. Scientists rely on the public for funding and political support while the public desperately desires the information that scientists cultivate. A common theme among these three selections is the need to make information graphics accessible and legible to the public rather than simply to experts. I agree that in some cases, information graphics should be more  geared towards the general population for capitalistic reasons as well as to cultivate an informed society. But, the general population is filled with experts in various fields that have the capacity to understand more statistically or artistically complex graphics. So I challenge the arguments of these selections, just because society desires more information, is it the experts job to constantly cultivate it for them? In some cases, yes, however graphics do not need to be made to be understood by everyone. In my opinion, successful information design is based on knowing one’s audience and arena. I leave you with one question; do we, as a society, have the right to information?