What impressions might readers form with visualizations that go beyond the data they encode? In this paper, we build on recent work that demonstrates the socio-indexical function of visualization, showing that visualizations communicate more than the data they explicitly encode. Bridging this with prior work examining public discourse about visualizations, we contribute an analytic framework for describing inferences about an artifact's social provenance. Via a series of attribution-elicitation surveys, we offer descriptive evidence that these social inferences: (1) can be studied asynchronously, (2) are not unique to a particular sociocultural group or a function of limited data literacy, and (3) may influence assessments of trust. Further, we demonstrate (4) how design features act in concert with the topic and underlying messages of an artifact's data to give rise to such 'beyond-data' readings. We conclude by discussing the design and research implications of inferences about social provenance, and why we believe broadening the scope of research on human factors in visualization to include sociocultural phenomena can yield actionable design recommendations to address urgent challenges in public data communication.

In contemporary information ecologies saturated with misinformation, disinformation, and a distrust of science itself, public data communication faces significant hurdles. Although visualization research has broadened criteria for effective design, governing paradigms privilege the accurate and efficient transmission of data. Drawing on theory from linguistic anthropology, we argue that such approaches-focused on encoding and decoding propositional content-cannot fully account for how people engage with visualizations and why particular visualizations might invite adversarial or receptive responses. In this paper, we present evidence that data visualizations communicate not only semantic, propositional meaning-meaning about data-but also social, indexical meaning-meaning beyond data. From a series of ethnographically-informed interviews, we document how readers make rich and varied assessments of a visualization's "vibes"-inferences about the social provenance of a visualization based on its design features. Furthermore, these social attributions have the power to influence reception, as readers' decisions about how to engage with a visualization concern not only content, or even aesthetic appeal, but also their sense of alignment or disalignment with the entities they imagine to be involved in its production and circulation. We argue these inferences hinge on a function of human sign systems that has thus far been little studied in data visualization: socio-indexicality, whereby the formal features (rather than the content) of communication evoke social contexts, identities, and characteristics. Demonstrating the presence and significance of this socio-indexical function in visualization, this paper offers both a conceptual foundation and practical intervention for troubleshooting breakdowns in public data communication.

Interactive visualizations are powerful tools for Exploratory Data Analysis (EDA), but how do they affect the observations analysts make about their data? We conducted a qualitative experiment with 13 professional data scientists analyzing two datasets with Jupyter notebooks, collecting a rich dataset of interaction traces and think-aloud utterances. By qualitatively coding participant utterances, we introduce a formalism that describes EDA as a sequence of analysis states, where each state is comprised of either a representation an analyst constructs (e.g., the output of a data frame, an interactive visualization, etc.) or an observation the analyst makes (e.g., about missing data, the relationship between variables, etc.). By applying our formalism to our dataset, we identify that interactive visualizations, on average, lead to earlier and more complex insights about relationships between dataset attributes compared to static visualizations. Moreover, by calculating metrics such as revisit count and representational diversity, we uncover that some representations serve more as "planning aids" during EDA rather than tools strictly for hypothesis-answering. We show how these measures help identify other patterns of analysis behavior, such as the "80-20 rule", where a small subset of representations drove the majority of observations. Based on these findings, we offer design guidelines for interactive exploratory analysis tooling and reflect on future directions for studying the role that visualizations play in EDA.

The Burden of Selfhood is an interdisciplinary performance artwork exploring the intersection of feminism, identity and technology. By connecting methods from cognitive science, music, poetry, video and performance art, we investigate the experience of viewing and being viewed as a gendered body. Technology has accelerated the recursive gaze to the point that we continually perform and project back onto each other our internalized expectations for unattainable perfection. This poly-vocal performance uses large-scale data visualizations and live performers to make explicit both the collective gaze and the implicit impact of being seen. Select portions of the performance can be found at: https://www.youtube.com/watch?v=UPk2JSt-e9Q https://www.youtube.com/watch?v=j1DXmiBU_3w