In response to the ubiquitous graphs and maps of COVID-19, artists, designers, data scientists, and public health officials are teaming up to create counter-plots and subaltern maps of the pandemic. In this intervention, we describe the various functions served by these projects. First, they offer tutorials and tools for both dataviz practitioners and their publics to encourage critical thinking about how COVID-19 data is sourced and modeled—and to consider which subjects are not interpellated in those data sets, and why not. (...) Second, they demonstrate how the pandemic’s spatial logics inscribe themselves in our immediate material landscapes. And third, they remind us of our capacity to personalize and participate in the creation of meaningful COVID visualizations—many of which represent other scales and dimensions of the pandemic, especially the quarantine quotidian. Together, the official maps and counter-plots acknowledge that the pandemic plays out differently across different scales: COVID-19 is about global supply chains and infection counts and TV ratings for presidential press conferences, but it is also about local dynamics and neighborhood mutual aid networks and personal geographies of mitigation and care. (shrink)

Alongside the robots, rockets, kitchen appliances, and other technical wonders displayed at the great expositions and world’s fairs of the late-19th and early-20th centuries, visitors frequently found deceptively staid demonstrations of banal bureaucratic tools: cards, fiches, and files. Yet these technologies of information management were aestheticized and presented as integral to the generation and pursuit of the fairs’ ambitious ‘world projects’: global networks, universal intelligences, efficient cities, colonized galaxies. The small, moving parts of information functioned as critical tools for city- (...) and world-building. In this article we begin with the 1964–5 World’s Fair, where bits and fragments of information fueled space-age visions, then trace those mid-century imaginaries back to the 1939–40 World’s Fair and a constellation of expos at the turn of the century, to see how the small, moving parts of information management ‘scale up’ to generate grand fantasies, and, at the same time, how they serve to index their own particular political and cultural milieux. (shrink)