Share
FRONTLINE Editor-in-Chief and Executive Producer Raney Aronson-Rath sits down with journalists and filmmakers for probing conversations about the investigative journalism that drives each FRONTLINE documentary and the stories that shape our time. Produced at FRONTLINE’s headquarters at GBH and powered by PRX. The FRONTLINE Dispatch is made possible by the Abrams Foundation Journalism Initiative.
…
continue reading
Manage episode 298827832 series 2915833
Content provided by Alberto Cairo, Simon Rogers & Scott Klein, Alberto Cairo, Simon Rogers, and Amp; Scott Klein. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Alberto Cairo, Simon Rogers & Scott Klein, Alberto Cairo, Simon Rogers, and Amp; Scott Klein or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://staging.podcastplayer.com/legal.
We all know that data visualization is a great tool to explore and make sense of numbers, and also to communicate those numbers to people. But there is also a long historical tradition in visualization that uses graphs, charts, and maps for persuasion. Think, for instance, of Florence Nightingale, who used data and charts to persuade the English authorities to improve the living conditions of soldiers during war. The persuasive tradition of visualization today continues thanks in part to the work of journalists and designers who work not for the news sides of their companies, but for their opinion sections.
In this episode Alberto and Simon talked to two of them, Stuart Thompson from The New York Times, and Sergio Peçanha, from The Washington Post. How is their work similar to what traditional graphics departments in news organizations do? And how is it different?
The music for this episode is Olympic athletes' weights and heights, from this dataset. The tool we use is TwoTone. Try it out!
47 episodes
))
