I have decided to create a new data visualization blog post theme specifically for topics related to Disney. This new theme will be called Disney DataViz.
To start off this theme, I could not think of any better chart to present than Dave Shute’s 2015 Walt Disney World Crowd Calendar. Dave’s site is yourfirstvisit.net blog and discusses everything you need to know for your first visit to Walt Disney World.
I encourage you to visit Dave’s site since he is the mastermind behind this wonderful chart.
For now, I am off to Disneyland.
2015 Crowd Calendar for Walt Disney World
Mr. Shute has provided his projections for Walt Disney World 2015 weekly crowds.
Dave plans on creating at least one revision of it in the summer of 2014, after the full set of 2014-2015 school calendars that he analyzes are out.
Dates in it are the beginning of the week, and the forecast covers the following 9 days.
Crowd levels are ranked by week from 1-11 in the following way:
1: Lowest of the year
How To Interpret The 2015 Disney World Crowd Calendar
Dates are the beginning of the week.
The “low crowd” weeks–those colored green, and rated 1-4–represent the only crowd levels a family visiting for the first time, and unsure if it will ever return, should consider.
The “moderate crowd” weeks–those in black and rated 5-7–have crowd levels Mr. Shute would not recommend to first time visitors. However, he would go during such weeks himself with no hesitation, and think these levels are OK for returning visitors who don’t need to see everything and already know how to work Walt Disney World.
The “high crowd” weeks–those in red, rated 8-11–should be avoided by everyone. They aren’t, which is why they are so high.
The Disney World Crowd Calendar Goes Up To “11″
However, Mr. Shute has always thought that the really nastiest weeks of the year deserved an 11 for emphasis.
So, in homage to Spinal Tap, he has assigned 11 to “highest.”
NOTE: The 2014 Walt Disney World Crowd Calendar can be see here.
Digital artist Eowyn Smith has created a map of the world highlighting the location where animated films by Disney and Pixar took place. The fan art maps 44 Disney animated films 13 Pixar films. It reaches as far back as Disney’s first film, Snow White, and includes Disney’s 2013 release Frozen.
In traditional cartography fashion, Wall-E, Monsters, Inc., Dinosaur, Treasure Planet, and Wreck-It Ralph are given an inset. The films are variously set in the future, prehistoric past, or alternate universes.
- Movie was placed based on the location IMPLIED IN THE DISNEY/PIXAR VERSION
- If the movie was too vague to determine a location, the original story/myth was consulted.
Source: Katherine M. Hill, Laughing Squid, February 11, 2014, http://laughingsquid.com/a-map-showing-the-geographic-locations-disney-and-pixar-films-around-the-world/.
Source: Jake Levy, BuzzFeed Data Analyst, January 15, 2014
The Organisation for Economic Co-operation and Development’s triennial international survey compared test scores from 65 countries. Happiness was ranked based on the percentage of students who agreed or disagreed with the statement “I feel happy at school.” Test scores were ranked based on the combined individual rankings of the students’ math, reading, and science scores.
While some vendor conferences can end up mired in technical minutiae, MicroStrategy believes it’s better to show, not tell customers how its BI (business intelligence) software works, according to its president, Paul Zolfaghari.
”More than 50 MicroStrategy customers will deliver presentations at the event, which has about 130 sessions planned in total, according to a statement. They include BMC Software, Flextronics, Nielsen, Panda Restaurant Group and Publicis Touchpoint Solutions.
Scheduled for keynotes are Facebook CIO Tim Campos and Gucci CIO Simone Pacciarini, who will discuss their use of Microstrategy technology.When it does discuss products at the event, Microstrategy plans to showcase its recently released Analytics Desktop, a self-service BI tool that is available at no charge, as well as its push into mobile BI, Zolfaghari said.
Mobility has transformed the BI market, in Zolfaghari’s view. Five or six years ago, companies largely ran some internal reports and rolled the results up the corporate food chain, he said. “What’s happened is BI has now moved massively outside of HQ.”
It’s also likely MicroStrategy will discuss the massively parallel in-memory computing architecture it’s been working on with Facebook. The technology should be commercially available from MicroStrategy later this year, showing up first in MicroStrategy’s cloud BI offering, according to Zolfaghari.
The conference comes as MicroStrategy, the industry’s last remaining large pure BI vendor, faces ever-stiffer competition from platform companies such as Oracle and SAP, as well as upstarts like Tableau and Birst.
But MicroStrategy is keeping an edge thanks to a number of key strategic decisions, according to a recently released Forrester Research report on the BI market.
”MicroStrategy has grown organically and architected its entire suite as a single platform,” analyst Boris Evelson wrote. “Forrester clients find that, after making the initial investment and effort in MicroStrategy, the reusability of all objects and the relational OLAP engine with drill-anywhere capability often result in a lower long-term total cost of ownership.”
Forrester clients are also having success rolling out mobile BI based on MicroStrategy’s platform, Evelson said.
But there’s some cause for concern over MicroStrategy’s “high reliance on a largely disappearing network of partners, many of which have been acquired,” for architectural components such as ETL (extract, transform and load), data quality and MDM (master data management), Evelson added.
Zolfaghari downplayed the impact of its partners being acquired, noting that Informatica, a major provider of such tools, remains independent. MicroStrategy also maintains “robust relationships” with companies such as IBM, SAP and Oracle, he said.
MicroStrategy World runs from Jan. 27-30.
Chris Kanaracus covers enterprise software and general technology breaking news for the IDG News Service. More by Chris Kanaracus
I get a free pass to MicroStrategy World in Las Vegas which is the last week of this month. Last year, they gave us awards too. Not sure yet if they will do the same this year.
An Exploration of Tax Data
My dashboard is an exploration of tax data. It explores taxes rates for the top ten counties in terms of GDP.
I used horizontal stacked bar charts instead so that the viewer can visually see how social security and income tax rate add up to the total and explains visually why the countries are ordered the way they are on the dashboard. I also separated out $100K and $300K percentages into separate visuals.
In addition, I added the flags of the countries. Yes, I know, chart junk!
Now, you don’t see any numbers on the data points in this dashboard. The reason you don’t see them is because they appear when you mouse over a bar where you then see the country, category and the percent value as a tooltip.
Here is a screenshot of my entry. It was written with MicroStrategy v9.3.1, Report Services and the Visualization SDK.
Click on image to enlarge
I have finished my week working in Paris. It was a long work week here. I did not have the opportunity to see any sights while I was here this time, but wanted to blog about something historical and visual that is here in Paris and is known throughout the World. I could not think of anything more beautiful and interesting than the Mona Lisa. I hope you enjoy this blog. I will continue my data visualization blogging when I am back in the USA on Tuesday and hope to do some more Historical DataViz blogs in the near future.
The Mona Lisa
The Mona Lisa (Monna Lisa or La Gioconda in Italian; La Joconde in French) is a half-length portrait of a woman by the Italian artist Leonardo da Vinci, which has been acclaimed as “the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.”
The painting, thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, is in oil on a white Lombardy poplar panel, and is believed to have been painted between 1503 and 1506, although Leonardo may have continued working on it as late as 1517. It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at The Louvre museum in Paris since 1797. The ambiguity of the subject’s expression, which is frequently described as enigmatic, the monumentality of the composition, the subtle modeling of forms and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.
Title and subject
Vasari’s account of the Mona Lisa comes from his biography of Leonardo published in 1550, 31 years after the artist’s death, and which has long been the best known source of information on the provenance of the work and identity of the sitter. Leonardo’s assistant Salaì, at his death in 1525, owned a portrait which in his personal papers was named la Gioconda, a painting bequeathed to him by Leonardo. That Leonardo painted such a work, and its date, were confirmed in 2005 when a scholar at Heidelberg University discovered a marginal note in a 1477 printing of a volume written by the ancient Roman philosopher Cicero. The note is dated October 1503 and was written by Leonardo’s contemporary Agostino Vespucci. This note likens Leonardo to renowned Greek painter Apelles, who is mentioned in the text, and states that Leonardo was at that time working on a painting of Lisa del Giocondo.
The sitter, Lisa del Giocondo, was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, La Gioconda, means “jocund” (“happy” or “jovial”), or literally “the jocund one”, a pun on the feminine form of the sitter’s married name Giocondo. In French, the title La Joconde has the same meaning.
Over the years there have been several alternative views among scholars as to the subject of the painting. Some have argued that Lisa del Giocondo was the subject of a different portrait, identifying at least four other paintings as the Mona Lisa referred to by Vasari. Several other individuals have been proposed as the subject of the painting. Isabella of Aragon, Cecilia Gallerani, Costanza d’Avalos, Duchess of Francavilla, Isabella d’Este, Pacifica Brandano or Brandino, Isabela Gualanda, Caterina Sforza, —even Salaì and Leonardo himself— are all among the list of posited models portrayed in the painting. Currently, the consensus of art historians is that the painting depicts Lisa del Giocondo, which has always been the traditional view.
Leonardo da Vinci began painting the Mona Lisa in 1503 or 1504 in Florence, Italy. Although the Louvre states that it was “doubtless painted between 1503 and 1506″, the art historian Martin Kemp says there is some difficulty in confirming the actual dates with certainty.According to Leonardo’s contemporary, Giorgio Vasari, “after he had lingered over it four years, [he] left it unfinished”. Leonardo, later in his life, is said to have regretted “never having completed a single work”.
In 1516 Leonardo was invited by King François I to work at the Clos Lucé near the king’s castle in Amboise. It is believed that he took the Mona Lisa with him and continued to work after he moved to France. Art historian Carmen C. Bambach has concluded that da Vinci probably continued refining the work until 1516 or 1517.
On his death the painting was inherited, among other works, by his pupil and assistant Salaì. The king bought the painting for 4,000 écus and kept it at Palace of Fontainebleau, where it remained until given to Louis XIV. Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre, but spent a brief period in the bedroom of Napoleon in the Tuileries Palace.
During the Franco-Prussian War (1870–1871) it was moved from the Louvre to the Brest Arsenal. During World War II, the painting was again removed from the Louvre and taken safely, first to Château d’Amboise, then to the Loc-Dieu Abbey and Château de Chambord, then finally to the Ingres Museum in Montauban.
Theft and vandalism
The painting’s fame was emphasized when it was stolen on 21 August 1911. The next day, Louis Béroud, a painter, walked into the Louvre and went to the Salon Carré where the Mona Lisa had been on display for five years. However, where the Mona Lisa should have stood, he found four iron pegs. Béroud contacted the section head of the guards, who thought the painting was being photographed for marketing purposes. A few hours later, Béroud checked back with the section head of the museum, and it was confirmed that the Mona Lisa was not with the photographers. The Louvre was closed for an entire week to aid in investigation of the theft.
French poet Guillaume Apollinaire, who had once called for the Louvre to be “burnt down”, came under suspicion; he was arrested and put in jail. Apollinaire tried to implicate his friend Pablo Picasso, who was also brought in for questioning, but both were later exonerated.
At the time, the painting was believed to be lost forever, and it was two years before the real thief was discovered. Louvre employee Vincenzo Peruggia had stolen it by entering the building during regular hours, hiding in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed Leonardo’s painting should be returned to Italy for display in an Italian museum. Peruggia may have also been motivated by a friend whose copies of the original would significantly rise in value after the painting’s theft. A later account suggested Eduardo de Valfierno had been the mastermind of the theft and had commissioned forger Yves Chaudron to create six copies of the painting to be sold in the United States while the location of the original was unclear. But the original remained in Europe and after having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in Florence; it was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and served six months in jail for the crime.
In 1956, part of the painting was damaged when a vandal threw acid at it. On 30 December of that same year, the painting was damaged again when a rock was thrown at it, resulting in the loss of a speck of pigment near the left elbow, which was later restored.
The use of bulletproof glass has shielded the Mona Lisa from more recent attacks. In April 1974 a “lame woman”, upset by the museum’s policy for disabled people, sprayed red paint at the painting while it was on display at the Tokyo National Museum. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a terra cotta mug or teacup, purchased at the museum, at the painting in the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.
Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widespread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and the viewer.
The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome them to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observer’s attraction to it is brought to even greater extent. The woman appears alive to an unusual measure, which Leonardo achieved by his new method not to draw the outlines, “mainly in two features: the corners of the mouth, and the corners of the eyes” (Gombrich), as firmly as that had been the use, before (sfumato). There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years later, and undoubtedly influenced by the work.
The painting was among the first portraits to depict the sitter before an imaginary landscape and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the woman’s hair and clothing are echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardo’s style. Owing to the expressive synthesis that Leonardo achieved between sitter and landscape it is arguable whether Mona Lisa should be considered as a traditional portrait, for it represents an ideal rather than a real woman. The sense of overall harmony achieved in the painting—especially apparent in the sitter’s faint smile—reflects the idea of a link connecting humanity and nature.
Mona Lisa has no clearly visible eyebrows or eyelashes. Some researchers claim that it was common at this time for genteel women to pluck these hairs, as they were considered unsightly. In 2007, French engineer Pascal Cotte announced that his ultra high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and with better visible eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. For modern viewers the nearly missing eyebrows add to the slightly abstract quality of the face.
There has been much speculation regarding the painting’s model and landscape. For example, that Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, “even when measured by late quattrocento (15th century) or even twenty-first century standards.” Some art historians in Eastern art, such as Yukio Yashiro, also argue that the landscape in the background of the picture was influenced by Chinese paintings; however, this thesis has been contested for lack of clear evidence.
The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that “the picture is in a remarkable state of preservation.” This is partly due to the result of a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had “acted with a great deal of restraint.” Nevertheless, applications of varnish made to the painting had darkened even by the end of the 16th century, and an aggressive 1809 cleaning and revarnishing removed some of the uppermost portion of the paint layer, resulting in a washed-out appearance to the face of the figure. Despite the treatments, the Mona Lisa has been well cared for throughout its history, and although the panel’s warping caused the curators “some worry”, the 2004–05 conservation team was optimistic about the future of the work.
At some point in its history, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about 1/3 the thickness of the panel. This intervention was skillfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture’s theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth. The flexible oak frame (added 1951) and cross braces (1970) help to keep the panel from warping further.
The picture is currently kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.
Because the Mona Lisa’s poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honor the anniversary of Leonardo’s 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame described below, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–2005, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel’s warp.
The Mona Lisa has had many different decorative frames in its history, owing to changes in taste over the centuries. In 1909, the Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.
Cleaning and touch-up
The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-up of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish, to mask areas that had been covered initially by an older frame. In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent, and to lightly touch up several scratches to the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisa’s left elbow with watercolour.
In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.
On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum’s Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005 the painting has been illuminated by an LED lamp, and in 2013 a new 20 watt LED lamp was installed, specially designed for this painting. The lamp has a Colour Rendering Index up to 98, and minimizes infrared and ultraviolet radiation which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. About 6 million people view the painting at the Louvre each year. A charcoal and graphite study of the Mona Lisa attributed to Leonardo is in The Hyde Collection, in Glens Falls, New York.
Historian Donald Sassoon catalogued the growth of the painting’s fame. During the mid-19th century, Théophile Gautier and the Romantic poets were able to write about Mona Lisa as a femme fatale because Lisa was an ordinary person. Mona Lisa “…was an open text into which one could read what one wanted; probably because she was not a religious image; and, probably, because the literary gazers were mainly men who subjected her to an endless stream of male fantasies.” During the 20th century, the painting was stolen, an object for mass reproduction, merchandising, lampooning and speculation, and was reproduced in “300 paintings and 2,000 advertisements”. The subject was described as deaf, in mourning, toothless, a “highly-paid tart”, various people’s lover, a reflection of the artist’s neuroses, and a victim of syphilis, infection, paralysis, palsy, cholesterol or a toothache. Scholarly as well as amateur speculation assigned Lisa’s name to at least four different paintingsand the sitter’s identity to at least ten different people.
Visitors spend about 15 seconds viewing the Mona Lisa.Until the 20th century, Mona Lisa was one among many and not the “most famous painting” in the world as it is termed today. Among works in the Louvre, in 1852 its market value was 90,000 francs compared to works by Raphael valued at up to 600,000 francs. In 1878, the Baedeker guide called it “the most celebrated work of Leonardo in the Louvre”. Between 1851 and 1880, artists who visited the Louvre copied Mona Lisa roughly half as many times as certain works by Bartolomé Esteban Murillo, Antonio da Correggio, Paolo Veronese, Titian, Jean-Baptiste Greuze and Pierre-Paul Prud’hon.
From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. In 1974, the painting was exhibited in Tokyo and Moscow.
Before the 1962–3 tour, the painting was assessed for insurance at $100 million. The insurance was not bought. Instead, more was spent on security. As an expensive painting, four paintings sold for more: the Portrait of Adele Bloch-Bauer I by Gustav Klimt, for $135 million, the Woman III by Willem de Kooning sold for $138 million in November 2006, and No. 5, 1948 by Jackson Pollock sold for $140 million in November 2006 and one painting from The Card Players series by Paul Cézanne sold for $250 million. However, adjusted for inflation using the US Consumer Price Index, $100 million in 1962 is $760 million in 2012, making it, in practice, by far the most valued painting in the world.
The avant-garde art world has made note of the undeniable fact of the Mona Lisa’s popularity. Because of the painting’s overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. Already in 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck (Eugène Bataille), was shown at the “Incoherents” show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and a goatee. Duchamp added an inscription, which when read out loud in French sounds like “Elle a chaud au cul” meaning: “she has a hot ass”, implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp’s own face.
Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954. In 1963 following the painting’s visit to the United States, Andy Warhol created serigraph prints of multiple Mona Lisas called Thirty are Better than One, like his works of Marilyn Monroe (Twenty-five Coloured Marilyns, 1962), Elvis Presley (1964) and Campbell’s soup (1961–1962).