The Atlantic published a delightful exploration last week of Netflix's surgically precise category descriptions, which include gems like "Critically-acclaimed Irreverent Crime Movies" or "Dramas starring Charlotte Rampling" (whoever she is). Because Netflix identifies the categories with integers in the URLs, Alexis Madrigal was able to scrape each one of the 76,897 unique categories names. It's data mining at its best.
At TIME, where I have been since August, we place interactives in pages using a WordPress short code that places an empty
<div>: the markup, style and code.
I've been spending a lot of time with Google Webfonts recently, looking for a semi-coherent font ensemble for this site. By default, every font is displayed in the sentence "Grumpy wizards make toxic brew for the evil Queen and Jack."
Capital Bikeshare, Washington D.C.'s communal cycling service, releases huge amounts of anonymous data on every trip taken by a customer. I can't even ride a bike anymore—you do forget—but I thought the data would offer fascinating insights about D.C. transportation when threaded into station-to-station routes.
For as long as I can remember, I have associated specific colors with every number and color. I first encountered a description of this condition in Richard Feynman's "What Do You Care What Other People Think?":
I recently converted this site from Django (which I still like) to Jekyll, the static site generator currently taking the Web publishing world by storm. I'm thrilled with it so far, even though I know very little Ruby, purely because it is so simple.
I was pondering how one would make a premium gibberish generator the other day, which led to a short investigation of which pairings of letters are legal in English and how common each combination is. This diagram shows a basic heat map of letter combinations, using '^' to mark the beginning of a word and '$' to mark the end. The data here is extracted from every item in the "2 of 12" list of dictionary words available on Kevin's Word List page.
Two weeks ago, my colleague Rachel Hartman and I published a story on Yahoo News with the headline "The top 9,486 ways Jay Carney won’t answer your questions." I'd like to briefly discuss how we did this.
Last week, the White House released 100 pages of printed emails documenting the intelligence community's public response to the Sept. 11, 2012 attacks on the American diplomatic compound in Libya. There are 91 unique messages in the documents and a high level of redundancy due to long reply-chains being printed multiple times.
Facing pressure from Republicans in Congress, the Obama administration released 100 pages of printed out emails in May relating to its crafting of talking points about the Sept. 11, 2012 attacks in Benghazi. The emails were literally printed and given to select reporters in white binders.
I was put in charge of decorating my birthday cake this year, so I attempted to combine my love for data visualization with my love for the Phillies. Here's the result:
Putting aside for a moment why a 30-year-old has an ant farm, I thought I would post the code I use to take minute-by-minute photographs of the colony as it grows:
As I mentioned a few days ago, I'm a big fan of Soundslice, a project by Adrian Holovaty and PJ Macklin for creating interactive guitar tabs. One of the coolest features is the ability to tap out measures on the computer keyboard as a recording of the sound you're transcribing plays, thus marking out measures to then fill in with chords.
Most Americans prefer to huddle together around urban areas, which raises all sorts of problems for map-based visualizations. Coloring regions according to a data value, known as a choropleth map, leaves the map maker beholden to arbitrary political boundaries and, at the county level, pixel-wide polygons in parts of the Northeast. Many publications prefer to place dots proportional in area to the data values over the center of each county, which inevitably produces overlapping circles in these same congested regions. Here's a particularly atrocious example of that strategy I once made at Slate:
I've recently been playing around with Sound Slice, an ambitious new project from Django co-founder Adrian Holovaty that creates interactive guitar tabs. The site has huge potential for moving guitars beyond the domain of ASCII files and 14 variations on the same song.
In scrambling to find something to do around the bombings at the Boston Marathon, I came across a [searchable database] of all 26,000 participants. Fortunately, it's possible to search everyone by hitting "Enter" with no search terms.
Wikipedia contains all sorts of treasures in its edit histories. (The revisions for Jesus are particularly bountiful.) During the later stages of the 2012 Republican primary, I monitored the pages for the four remaining candidates and put together this feature for Yahoo News.
Transcribing the improvised solos of the greats is a core part of jazz education, but it's rare that people share their (often hand-written) notes on, say, exactly what Clifford was doing in that second chorus of "Step Lightly." (Let me know if you need that one. I might still have it.)
Most people refer to the sort of work you see on Mechanical Scribe as "interactive multimedia" or "interactive graphics." I've always liked the term "hypermedia" for these projects. The term was coined alongside "hypertext" in 1963 by a man named Ted Nelson, but only one would stick. "Hypertext"--literally "beyond text"--is etched in the 'H' and 'T' of HTML, but you don't often hear the second term. Nelson commented on this in his book Literary Machines: