"The commonality between science and art is in trying to see profoundly - to develop strategies of seeing and showing"
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Tufte’s line is a quiet provocation: stop treating science as “objective” and art as “expressive,” because both live or die on the same skill - disciplined perception. The key phrase is “see profoundly,” which reframes expertise not as having more facts, but as having better eyesight: the ability to notice structure, causality, anomalies, scale. That’s a direct shot at the complacent idea that data simply “speaks.” It doesn’t. People speak through data, and the quality of that speech depends on how well we’ve trained ourselves to look.
The second half - “develop strategies of seeing and showing” - gives away Tufte’s deeper agenda. “Strategies” signals method, not muse: choices about what to include, what to suppress, how to compare, how to sequence. “Showing” is where the ethical pressure sits. A graphic, a chart, a diagram, a painting, a photograph: each is an argument about reality disguised as presentation. Tufte’s career in information design is basically a long insistence that form is never neutral; it either clarifies thought or launders confusion.
Context matters. Tufte emerged as a kind of patron saint for an era drowning in dashboards, PowerPoint, and managerial storytelling. His critique of “chartjunk” wasn’t aesthetic snobbery; it was a warning that bad displays produce bad decisions. By yoking art to science, he’s not romanticizing science or scientizing art. He’s demanding accountability from both: if you claim to reveal the world, your tools for seeing and showing had better be worthy of the claim.
The second half - “develop strategies of seeing and showing” - gives away Tufte’s deeper agenda. “Strategies” signals method, not muse: choices about what to include, what to suppress, how to compare, how to sequence. “Showing” is where the ethical pressure sits. A graphic, a chart, a diagram, a painting, a photograph: each is an argument about reality disguised as presentation. Tufte’s career in information design is basically a long insistence that form is never neutral; it either clarifies thought or launders confusion.
Context matters. Tufte emerged as a kind of patron saint for an era drowning in dashboards, PowerPoint, and managerial storytelling. His critique of “chartjunk” wasn’t aesthetic snobbery; it was a warning that bad displays produce bad decisions. By yoking art to science, he’s not romanticizing science or scientizing art. He’s demanding accountability from both: if you claim to reveal the world, your tools for seeing and showing had better be worthy of the claim.
Quote Details
| Topic | Art |
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