Michael says “My datapoem ‘Antibiotic Dispensing across Australia in 2017’ was inspired by my research into techniques for visualising antibiotic dispensing over time. I sourced nationwide data on antibiotic (Anatomical Therapeutic Chemical 5 code J01) dispensing from Pharmaceutical Benefits Schedule Item Reports that are publicly available online. I used the antibiotic dispensing data to produce run charts in Microsoft Excel and Nightingale’s rose diagrams in AnyChart. I presented the results of my research, both orally and in poster form, at the Australian Science Communicators (ASC) Conference 2018 (http://2018conf.asc.asn.au/a-comparison-of-two-techniques-for-visualising-antibiotic-dispensing-over-time-the-run-chart-versus-nightingales-rose-diagram/).
I created ‘Antibiotic Dispensing Across Australia in 2017’ by placing poetry in text boxes over the blue line in the run chart showing overall antibiotic dispensing. The plot’s minimum, rise, maximum, and steady decline are communicated both visually and in words. I made a conscious decision to use rhyme (‘Summer low’ with ‘afterglow’ and ‘Spring’ with ‘brings’), as this poetic device can make poems more memorable. By referring to the seasons throughout the data poem, I addressed a theme that is common to traditional poetry, antibiotic utilisation, and time series analysis. I enjoy combining science with art and highlighting the commonalities between the two.”
Thanks Michael! You can find him on Twitter @m_jleach
I was asked by the science artist Kelly Stanford to create a poem celebrating Manchester’s contribution to science and technology, for her STEM-themed bee sculpture as part of #BeeInTheCity. The poem takes a bee-twist on Rutherford’s atomic model, splitting the atom (a Manchester first!) and graphene, for which Manchester scientists Professor Andre Geim and Professor Konstantin Novoselov won the 2010 Nobel Prize for physics. Professor Novoselov signed the bee along with 80 other researchers and scientists working in Manchester.
The bee outside Oxford road station (the poem is on the other side):
A poem about endless searching, pattern matching and breaking out. The form of this piece presented a particular challenge, both in establishing the reading order of lines and in their very precise lengths to fit between the stars.
This datapoem considers how social media facilitates the formation of groups that share their own version of reality. Such groups often attract members through a shared narrative about the world, for example political views or fringe beliefs such as conspiracy theories. These become mutually reinforcing as more members are added to form an ‘echo chamber’.
We all belong to such groups to some extent as we naturally gravitate to those whose views or company we enjoy. We tend to reject things that don’t support our existing beliefs and seek out things that make us feel good about those we hold. This is normal human behaviour, but its amplification on the internet can lead to fractured and polarised societies, susceptible to manipulation.
The poem is a haiku. The imagery references the ‘web’ of the internet with communities represented as droplets on the web, distorting objective reality to form their own truths.
This is an experimental poem concrete about ideas that take on a life of their own. The design is based on a sperm fertilising an egg under a microscope, and also suggests lighting the fuse on a bomb, in recognition that some ideas can have uncontrolled creative and destructive potential.
Instagram users also stated that the spark represents the attraction between two people that eventually coalesces into a new person. I didn’t think of that but it’s a great interpretation!
Escape Velocity is a datapoem about attempting daunting goals. It uses data from NASA on the speed required to escape the gravitational clutches of the different planets in our solar system. The escape velocity depends on the mass of the planet, with the ringed giants requiring the greatest speed. I included Pluto as a planet, but recognised its ambiguous status by placing a question mark alongside it as the final line.
Visually the datapoem is intended to evoke an Icarus-like figure flying towards the sun. Icarus of course plummeted to Earth after the wax holding his wings together was melted by the sun. The poem asks is it really the magnitude of your goal that prevents you from achieving it, or could it be fear of success, like Icarus getting too close to the sun?
Malaise Traps is a blackout poem on the declining insect population as reported in Hallmann et al (2017). Unlike traditional poetry, which is an additive exercise, a blackout poem takes found material and subtracts portions to leave a poem behind. In this case the material was the abstract of the paper, and 75% was eliminated to reflect the loss of insects over the period covered.
The title comes from the ‘malaise traps’ used to catch insects in the study. Poetically the phrase suggests an inescapable sickness and the poem references materialism (abundance and decline, status and trends), which underlies the degradation of the environment.
Insects are vital components in all terrestrial ecosystems and food webs, as pollinators, scavengers predators and prey. It is alarming that such a reduction could occur without the general population noticing, although many have commented on the loss of specific species. Complex systems tend to have feedback loops and balancing mechanisms that can accommodate changes up to a point; but once that point is passed, the consequences can be catastrophic.
This datapoem looks at the biomechanics of skin and the disintegration of identity under increasing pressure.
The graph is a stress-strain diagram used to record how materials stretch or compression (strain) under a given load (stress). In skin, collagen fibres are initially wavy coiled, but align and are pulled taut as they get stretched. Eventually they snap and the skin tears.
Skin is the barrier between us and the outside world, defining the boundary of our physical bodies. It also allows us to sense the world through touch and temperature.
Under psychological pressure our sense of self can begin to break down, as we struggle to compartmentalise things and our emotions surface in unpredictable ways.
Ouroboros depicts rising global temperatures since 1880 in the context of a cycle of consumerism and estrangement from nature. The title references the snake that eats its own tail. This hints at the self-destructive cycle of consumption that fuels anthropogenic climate change and also the unusual circular form of the poem, made possible by the animated ‘barrel’ data visualisation.
This piece was a collaboration between Kev Pluck, a coder and data analyst who developed the data visualisation, and James Stone, an amateur poet and founder of Poetry in Data.
Kev says “I’m a software engineer who has, in the past year, become obsessed with climate data trying to find new and innovative ways of presenting it to the general public. I like that after 20 years of coding experience I am still learning techniques especially now that I have started animating data. I feel that what is happening to the environment is too important to ignore and that these animations are my small contribution to nudge people into improving it.”