Data visualization

CDA has a decades-long track record in creating nuanced, thoughtful, and novel representations of data. The combined experience of our transdisciplinary team allows us to work outside the bounds of traditional data visualization and craft intuitive pathways through complex datasets.


Media work + Public Art

Our team of artists, designers, researchers, and creative technologists have produced an award-winning body of work spanning art, architecture, and design. We are uniquely equipped to produce beautiful data-driven installations that push the boundaries of what is technologically possible.

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Data + Culture + Society

Working within The New School positions CDA to tackle problems that span disciplinary boundaries. We collaborate often with journalists, historians, scientists, arts organizations, and creative practitioners to develop work that is meaningful and relevant.

Data visualization in real time

For the May, 2017 edition of the “C2” festival in Montréal, CDA developed an innovative workflow and a suite of modular software applications to generate a live visualization of the ideas being discussed in C2’s multiple venues.

Two weeks later, CDA used its system again to visualize “Movin’On,” the international summit for a sustainable mobility, which the C2 organization hosted at the same venue.

For more photos, including a behind-the-scenes account of our process, check out the website of collaborator Ian Ardouin-Fumat.


As ubiquitous information technology reshapes the world, CDA's Data Matters publication serves as a wide open platform for examining data’s many crucial and disparate roles, offering analytical, critical, and creative perspectives on the rapidly evolving state of data arts.

Read all about it at

Activating Museums’ Data for Research, Scholarship, and Public Engagement

Starting two decades ago, museums across the globe began to digitize the objects in their collections, capturing images of the objects along with extensive metadata, including curatorial commentary, notes on the object’s provenance, information about its creator, its history of inclusion in exhibitions, restoration records, conservation instructions, and so on. Yet apart from a few notable exceptions, the vast majority of this information remains walled-off within the proprietary collection management system of individual institutions.

Both individually and in the aggregate, what can these objects and collections tell us about the history of art, culture, and society? What can we learn by studying the changes over time in the ways that art and other cultural artifacts are produced, the relationships between the producers and the collectors, and the dynamics of art markets?

In 2017, CDA’s Dr. Anne Luther led the formation of this international research consortium to study these digital collections. In its first active year, the consortium is planning a series of “data sprints” to engage with the collections data of several significant art institutions and begin to answer some of the questions above. By spring of 2018, we will begin to release open source software tools and visualization technology enabling scholars, curators, artists, and commercial art professionals, to examine art collections and collecting activity as dynamic ecosystems across geography and over time.

This effort will also enable us to begin mapping the global network of relationships that link artists, collectors, curators, institutions, and individual works of art.

Consortium members:

  • The Center for Data Arts at The New School

  • Medialab Sciences Po Paris

  • The Chair for Modern Art History at the Technische Universität Berlin

This work builds on past PIIM projects such as the Entity Mapper, a tool for visualizing qualitative data: as a network of associations and relationships, revealing underlying economic, social, and political forces that exist between actors in the art world, and CDA Director Ben Rubin’s work on “A Sort of Joy” (2015), a live performance of MoMA’s collection database.