1.) Referring
to the two examples he provides at the beginning of the reading Tuft claims “comparisons
are more effective when information is adjacent in space rather that stacked in
time.” (pg. 81) Describe the differences between Dega’s Cheval a l arret “adjacent” comparison and Humphrey Repton’s Observations on the Theory and Practice and
Landscape Gardening “stacked” comparison.
In your opinion, which is a more effective comparison?
Why or Why not?
2.) Tufte
describes Peter Apian’s Cosmographicus
liber as being “utterly flat and without dynamics, treating the sun, earth
and moon as fixed cardboard cutouts rather than as three-dimensional objects
moving in space” (pg. 86) Also claiming that “if the earth were represented as
a cube it could cast the shadows shown in the scenes above” (pg. 86)
In your opinion, would this change make the
diagram a more effective tool at proving the earth is indeed round? Why or Why
not?
3.) Tufte
describes Robert Winter’s CD Companion:
Ludwig van Beethoven, Symphony No. 9 as a “synchronized parallelism between the silent visual explanation on
the screen combined with the sound of the music” (pg. 88)
What are some other examples that use technology to create similar synchronized parallelism (not exclusively between the visual and musical)?
4.) When
describing the cyclogram of Cosmonaut Georgi Grechko (pg. 92-95), Tufte fails
to tell us the benefits the cosmonauts may have gained from these parallel
methods of representing time.
What, if any, do you think these benefits could
have been? Why bother if it was filled with “witless ploys that did not help
much” (pg. 93)
5.) Tufte
describes “faulty parallelisms” citing Humphrey Repton’s Designs for the Pavillion at Brighton where Tufte claims that
Repton shows “substantial embellishments quite beyond the scope of
architectural work.” (pg. 102)
As architects we may on occasion contribute
to these faulty parallelisms through our representations.
What are the benefits/drawbacks to this in the professional environment?
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