Due to the need to present information in a fast and attractive way, organizations are eager to use information visualisations. This study explores the collision between the different experts involved in the production of these visualisations using the model of trading zones supplemented with the learning mechanisms found in the boundary crossing literature. Results show that that there is not one single good solution to effective interdisciplinary cooperation in the field of information visualisation. Rather, all four types of cooperation that we distinguish – enforced, dominated, fractionated, and attuned – might work well, as long as they are adapted to the situation and the participants accept the constraints of the specific cooperation type they are engaged in. In any case the involved experts and initiators have to understand and incorporate approaches that enhance the cocreative, iterative nature of the production process. In surveying the different forms of collaboration we detect two major forms of trading zones: the one that encompasses the collaboration between an external client and a designer (external trading zone) and the trading zones within an organization between content producer and designer (internal trading zone). Both mechanisms of identifying each other’s expertise and coordinating the different tasks in the production process seem beneficial for the production process.
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From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
Depicting news graphically is considered an apt way to deal with two challenges of modern journalism: to disclose big data, and present the news attractively, visually, and fast to grasp. Newsrooms try their hand at it and are figuring out how to organize production of information visualizations effectively. This study delves into reported obstacles and challenges for the production of news visualizations and suggests that enhancing the quality of information visualization in news media, asks for a clear view on what information visualization means for the production of news, rather than only stimulating journalist to acquire new skills
