Loose, Artistic "Textures" for Visualization

posed a visualization problem she and I have been interested in for several years. The problem is that of visually representing a 2D field of data that has multiple data values at each point. For example, 2D fluid flow has a vector value at each location and derived values are often available at each location. Interrante suggests using natural textures to attack this problem, because the textures can potentially encode lots of information. She provides some intriguing examples and proposes a psychology-based approach for developing an understanding of how we perceive natural textures, like those Brodach photographed. 2 Understanding this helps us build better visualizations. Based on Interrante's suggestions, I would like to posit and explore what is, perhaps, a less well-defined approach. Through evolution, the human visual system has developed the ability to process natural textures. However, in addition to natural textures, humans also visually process man-made textures—some of the richest and most compelling of which are in works of art. Art goes beyond what perceptual psychologists understand about visual perception and there remain fundamental lessons that we can learn from art and art history and apply to our visualization problems. The rest of this article describes and illustrates some of the visualization lessons we have learned studying art. I believe that these examples also illustrate some of the potential benefits of further study. While this approach is more open-ended than a perceptual psychology approach, both approaches are worthy of pursuit , and the potential benefits of using the less structured approach outweigh any risk of failure. Scientific visualization, a term coined only a little over 10 years ago, is the process of using the human visual system to increase our understanding of phenomena studied in various scientific disciplines. While the term is young, the process (modulo the computer) has been used since the beginning of science. Many scientists have created drawings or built 3D models to understand and communicate their science. The history of science and art can provide us with lessons for using computers effectively. Over time, artists have developed techniques to create visual representations in particular communication goals. Art history provides a language for understanding and communicating that knowledge. Historically, two disciplines approach the human visual system from different perspectives. Art history provides a phenomenological view of art—painting X evokes response Y. Art history, however, doesn't decon-struct the perceptual and cognitive processes underlying responses. Perceptual psychology, …