I categorized data art by medium and theme before exploring 25 generative styles like flow fields and pixel sorting. This guide details the aesthetics, practitioners, and philosophies of diverse algorithmic visual languages.

User What are different styles / types of data art? Gemini Thinking: Exploring Data Art Basics I'm starting by defining the concept of "data art" and gaining a general understanding. After establishing this foundation, I will delve into specific styles and subcategories. I plan to study types like generative art, data visualization, and physical data installations to gain a comprehensive view. Expanding Interactive Data Art Now, I'm incorporating interactive data art into the mix. I'm focusing on finding concrete examples and key artists within that style. My next step will be to synthesize this expanding information to provide a clear categorization of the various styles and types of data art, and the final delivery will include descriptions and illuminating examples for each. Thinking: Discovering Data Art Forms I've been exploring diverse data art forms, starting with a general definition. Foundational knowledge is building; I've identified several key styles and variations. This research solidifies my perspective, and I'm prepared to delve into specific examples soon. Mapping Artistic Expressions I'm now cataloging the diverse styles of data art. It's more than just visualization, with physical sculptures, generative algorithms, interactive installations, performance-based works, and even analog drawings. The distinction between data art and visualization is becoming clear; aesthetics are paramount, but not at the expense of meaning. It's an exciting field to explore! Cataloging Artistic Styles I'm focusing now on the aesthetic styles, rather than just the medium. I've begun compiling a list of specific examples. In my search, I found that "Dear Data" is a handmade visualization project, along with other physical examples. Generative AI art and interactive installations are also on my radar. I need to make clear distinctions between what creates the work and the overarching aesthetic style. Expanding Aesthetic Categories I'm now focusing on specific visual and conceptual styles within data art, identifying distinct artistic movements like Glitch Art, Biomimetic Data Art, and Data Landscapes. I'm also compiling a list of prominent contemporary artists representing these styles. Furthermore, I'll delve deeper into the unique experience offered by Data Sonification, broadening the scope beyond visual representation. This approach will create a richer and more complete view. Analyzing Aesthetic Nuances I'm now zeroing in on the aesthetic styles within data art. I'm moving beyond the technology, aiming to clearly categorize by visual and conceptual aspects. My research will focus on identifying specific aesthetic styles, like minimalist or glitch art, and connect them with prominent artists to create concrete examples for analysis. I aim to create a classification that encompasses both aesthetic and medium. Thinking: Exploring Data Art Forms I've made a key distinction between functional data viz and artistic data art, which has helped narrow my focus. I've compiled a solid base of information on these categories and types of data art, which has yielded more options and possibilities. Identifying Key Aesthetics I've fleshed out my understanding of mediums, expanding beyond just digital forms. I'm excited by the possibilities in physical sculptures and textiles. I've uncovered distinct aesthetic styles like Glitch Art and Biomimetic designs, and I've also incorporated influences from abstract art movements, focusing on their potential impact. While I have a core list of artists, I'm working to confirm their precise data art connection, and expand the list. Expanding the Data Landscape I'm now diving into the specifics of data art "movements" beyond Glitch and Biomimetic. I'm exploring "Quantified Self" as an artistic style and seeking more diverse examples, particularly within Data Landscapes and Glitch art. I'm focusing on confirming the data-driven nature of works by Refik Anadol and Ryoji Ikeda to ensure my research is accurate, and ready to refine. Thinking: Categorizing Data Art I've been drilling down on the landscape of data art, focusing on two main branches. First, I've outlined the broad strokes: Functional versus Artistic, Physical, Digital, Interactive, and Performative. Now, I'm starting to get into specific aesthetics and techniques, like Glitch Art, exploring how digital errors and corruption can be harnessed for artistic expression, including datamoshing and pixelation. Exploring Key Artists I've been immersed in the work of key artists. Refik Anadol's deeply data-driven, AI-powered pieces are a fascinating contrast to the mathematical precision of Ryoji Ikeda's immersive data environments. Laurie Frick's "Quantified Self" approach with handmade materials provides another perspective. I'm also confirming specific movements, and I've now identified Willem Besselink and Jer Thorp to add to the list. Finalizing Categorization Structure I've solidified my categorization framework. It will cover Medium (Physical, Digital, Performative), Aesthetic Style (Glitch, Biomimetic, Minimalist/Abstract, Hand-Drawn/Humanist), and a thematic section on Quantified Self. I can now provide a coherent response. Refining the Framework I'm now in the final stages of the plan. I've conducted a final check and refined the structure for clarity and completeness. The introduction will clearly differentiate data art from visualization. I've ensured a logical flow covering Medium, Aesthetic Style, and Themes, including "Quantified Self" and Activist/Environmental sections. A concise conclusion will tie it all together. No further research is required. Data art (often called information art) is distinct from standard data visualization. While visualization aims for clarity and efficiency (charts, graphs), data art prioritizes expression, emotion, and aesthetic experience. It uses data as a raw material—like paint or clay—to create something that may not be immediately "readable" but is deeply felt. The world of data art is typically categorized in three ways: by Medium (how it is made), by Aesthetic Style (how it looks), and by Theme (what it is about). 1. By Medium: How It Is Created This categorization looks at the physical or digital tools used to construct the artwork. Generative & Algorithmic Art: What it is: Artists write code (algorithms) that acts as a set of rules. When data is fed into this code, it generates complex, often unpredictable visual outputs. Key Example: Refik Anadol. He uses AI and machine learning to process massive datasets (like millions of images of glaciers or brain scans) to create fluid, dream-like "data paintings" that move and morph on giant screens. Style: Often fluid, particle-based, and highly complex. Physical Data Art (Data Sculptures): What it is: Bringing data out of the screen and into the real world using materials like wood, metal, paper, or 3D-printed plastic. Key Example: Willem Besselink. He creates large-scale installations using physical objects (like beads or bricks) to visualize data such as his own daily movements or city traffic patterns. Notable Mention: The Tempestry Project, where knitters create "temperature tapestries" using different colors of yarn to represent daily temperatures, visualizing climate change through textiles. Immersive & Interactive Installations: What it is: Room-sized environments where the viewer walks inside the data. These often use sensors to change the art based on the viewer's presence or movement. Key Example: Ryoji Ikeda. His work (like data-verse) uses massive floor-to-ceiling projections of high-precision mathematical data. It immerses viewers in a strobe-lit, black-and-white digital universe that feels like standing inside a computer processor. Performative & Sonic Art (Sonification): What it is: Turning data into sound or performance rather than visuals. Key Example: Brian Foo created a track called "Two Trains" where the volume and energy of the music rise and fall based on the income inequality data of the neighborhoods the NYC 2 train passes through. 2. By Aesthetic Style: The Visual Language This categorization looks at the "vibe" or visual rules the artist applies to the data. Data Humanism (Hand-Drawn / Analog): The Vibe: Imperfect, personal, warm, sketchy. Philosophy: Rejects the idea that data is "objective" or "cold." It emphasizes the human stories behind the numbers. Key Artist: Giorgia Lupi. Her project Dear Data (with Stefanie Posavec) involved sending weekly hand-drawn postcards to each other, tracking personal things like "times I complained" or "doors I opened," visualized with colored pencils and markers. Glitch Art: The Vibe: Distorted, pixelated, chaotic, "broken." Philosophy: Uses digital errors, corrupted files, and "noise" to show the fragility of technology and memory. Technique: Artists might "bend" the data of an image file to intentionally break it, creating colorful, jagged artifacts. Biomimetic Data Art: The Vibe: Organic, floral, creature-like. Philosophy: Uses data to mimic natural forms. Instead of bars and lines, data might determine the growth patterns of a digital tree, the flocking of birds, or the blooming of flowers. Key Example: Jer Thorp, who visualized 10,000 bird species by creating a unique digital feather for each one based on its data attributes. Precisionism / Minimalist: The Vibe: Stark, black and white, grid-based, hyper-clean. Philosophy: Strips away all decoration to reveal the raw mathematical sublime of the data. (This is the style often associated with Ryoji Ikeda, mentioned above). 3. By Theme: The Subject Matter Sometimes styles are defined by what they track. Quantified Self Art: Focus: Intense self-tracking. Artists track their sleep, heart rate, steps, or mood and turn it into art. Key Artist: Laurie Frick. She takes personal tracking data (like sleep cycles) and turns them into warm, tactile wall art using wood, leather, and paper, making intimate personal data feel cozy rather than surveillance-like. Data Landscapes: Focus: Geography and environment. Technique: Using elevation data, wind speeds, or ocean currents to generate digital topographies. Example: "Warming Stripes" by Ed Hawkins is a simple, iconic visualization using colored stripes to show global temperature rise—it has transcended into a symbol used on everything from ties to stadium walls. Summary Table Style/TypePrimary MediumAesthetic VibeKey ArtistGenerativeCode / AIFluid, complex, dreamlikeRefik AnadolPhysicalWood, Yarn, 3D PrintTactile, sculpturalWillem BesselinkImmersiveProjection, LightOverwhelming, hypnoticRyoji IkedaData HumanismInk, PaperSketchy, personal, warmGiorgia LupiQuantified SelfMixed MediaIntimate, patternedLaurie FrickExport to SheetsA next step you can do: If any of these specific styles resonate with you (e.g., "I love the idea of Data Humanism"), I can suggest a specific small project or tool you could use to try creating a piece in that style yourself. User Let's limit ourselves to generative & algorithmic visual art. Within this, expand the aesthetic styles (the visual language) to cover popular as well as niche and even obscure styles of art. Describe the vibe and philosophy in a sentence each, along with a practitioner and example. List at least 25. Gemini Thinking: Investigating Visual Styles I'm currently focused on the aesthetic range within generative art. I'm actively searching for both well-known styles and lesser-known sub-genres. Right now, the search terms are focused on "glitch art," "datamoshing," and "fractal art." I'll refine this later. I'm planning to broaden the search soon to include more abstract approaches as well. Expanding Style Exploration I've significantly broadened my investigation to include "pixel sorting," "reaction-diffusion," and several other niche generative art styles. My focus is now on identifying representative practitioners and characteristic examples for each, as well as succinctly capturing their visual vibe and underlying philosophy. I'm aiming to compile a comprehensive list of at least 25 distinct styles, complete with the requested details, to answer the user's specific request. Thinking: Analyzing Initial Results I've begun to analyze the initial search results, focusing on the aesthetics of generative and algorithmic art. Promising broad categories, like generative art, are emerging, alongside some specific artists. This provides a solid foundation for deeper exploration. Cataloging Art Forms I'm now cataloging the identified art forms, separating them into specific styles and techniques. The list includes pixel sorting, reaction-diffusion, strange attractors, and fractal art. I'm also delving into isometric generative art, vector fields, and L-systems, plus cellular automata, ray marching, dithering, and feedback loops. It's a growing collection of visual ideas. Deepening Style Taxonomy I'm expanding my style taxonomy, identifying artists for niche forms. I've added artists like olo Gamboa Naon, Anders Hoff, and Mark J. Stock to existing categories. I'm also exploring artists like Jon McCormack, Frieder Nake, and Jared Tarbell to fill gaps, as well as Tyler Hobbs, and Helena Sarin. I am hoping to create a more comprehensive overview of these fields. Pinpointing Specific Artists I'm now zeroing in on artists who exemplify niche styles like dithering, ray marching, and cellular automata. I've found Laurent Malys for dithering and am confident I'll identify specialists for the others. I'm also refining my approach to discern the "vibe" and philosophy behind these generative forms to make sure they are distinct. I will look for plotter art, live coding visuals, dithering, and 4k intro style artists. I'm also expanding my search to include ASCII generative art. Narrowing Search Scope I've refined my search to a precise list of generative art forms and specific artists. Now, I'm focusing on "Generative Plotter Art," "Ray Marching/SDF Art," "Live Coding Visuals," "Generative ASCII/Petscii Art," "Asemic Writing Generative," "Demoscene procedural graphics," "Pixel Sorting," "Flow Fields," "Circle Packing," and "Delaunay Triangulation/Voronoi" art. I'll include "Subdivision" and "Evolutionary/Genetic Art" as well, which will allow me to hone in on dithering and slit-scan art. Eventually, "Vector Synthesis" and related artists are the key. My goal is to synthesize the list down to the required twenty-five. Thinking: Refining Artistic Styles I've made considerable strides in compiling data on diverse generative and algorithmic art techniques. I'm focusing on defining twenty-five specific styles. I'm prioritizing clarity, ensuring that each has a unique set of parameters and aesthetic qualities. My next step involves solidifying these distinctions, especially in areas where certain techniques overlap. Cataloging Artists Now I'm now cataloging artists and concrete examples for each of the pre-defined artistic styles, and am getting close to 25. For Generative Plotter Art, I have Molnar, Paslier, and Hobbs. Ray Marching boasts Quilez and Shadertoy contributions. Hydra, TidalCycles, and Jay exemplify Live Coding. I've anchored ASCII Art with Knowlton and noted Warez culture. Asemic Writing has Xu Bing, Gaze, and Serafini. Finally, Demoscene boasts "Farbrausch". I still seek a dither artist who uses the aesthetic, and I am close. Expanding Artist Database I am actively searching for artists who embody the styles I've already defined. I've located artists for Vector Synthesis like Jerobeam Fenderson and Derek Holzer. For Flow Fields, Tyler Hobbs is a key example. I am searching for a good fine art example for Reaction-Diffusion but Jonathan McCabe seems promising. I have artists for Feedback Loops like Andrei Jay. Finally, I'm identifying Cellular Automata artists like Maxime Causeret, and for Strange Attractors groups such as "Chaotic Atmosphere" are helpful. Seeking Visual Examples I'm now hunting for visual examples to solidify the remaining categories. I've found Adam Magyar and Erik Boertjes for Slit-Scan, and Manolo Gamboa Naon for Isometric Generative work. I have Stephanie Pan and The Tempestry Project for Generative Knitting. Matt DesLauriers fills the Noise Functions slot. Now, I need to refine and expand a few areas: identifying a Datamoshing artist to distinguish Glitch Art, pinpointing an L-Systems artist (Jon McCormack seems strong), confirming Michael Hansmeyer for Subdivision, and finding a Circle Packing artist (Julien Gachadoat is promising). Expanding The Styles List I'm digging deeper into the artistic categories. I've pinpointed candidates for several styles. For Voronoi/Delaunay, Raven Kwok seems like a strong choice. Fractal Art now includes Tom Beddard's stunning 3D work. Sage Jenson is perfect for Physarum/Slime Mold, and Woody Vasulka represents Scan Processing. I'm also adding Particle Systems, Swarm Intelligence, Tessellation, Genetic Art, Projection Mapping, and Creative Coding Minimalism to the target list. Refik Anadol, Robert Hodgin, Hamid Naderi Yeganeh, Karl Sims, Adrien M & Claire B, and Mur are emerging as potential candidates, expanding my roster. Identifying Key Artists I've identified key artists for Voxel Art, with Beeple's tool use and MadMaraca's manual approach now clearly excluded. I'm focusing on code-heavy generative voxel terrain. I've also identified Neural Style Transfer artists like Gene Kogan. Finally, I've confirmed artists for Plotter Art with Lichentritt's interference patterns and Rev Dan Catt. My current task involves finalizing examples for the weaker categories before writing the definitive response. This involves pinpointing a generative circle packing artist and a true example of Dithering art. Pinpointing Visual Styles I'm zeroing in on final examples. For Swarm Art, I'm set with Robert Hodgin. I'm also actively trying to pinpoint a great artist for Generative Tessellation to finalize the aesthetic. I need to make some decisions on how to present the visuals for Datamoshing and Sorting Art as well, as they are not immediately defined by an artist. I'm close to completing the main artistic styles to include in the list. Thinking: Defining Art Styles Further My research has successfully identified an extensive list of generative and algorithmic art styles, practitioners, and relevant examples. I have organized them for clarity and will continue to work on categorization. I am now delving deeper into specific examples of strange attractors, cellular automata, and fractal art to understand their nuances. Exploring Style Practitioners I've confirmed Dimitris Ladopoulos as a key figure in Chaotic Atmosphere visualization. I've also found Sage Jenson to be a strong example for Physarum/Slime Mold art. For Circle Packing, I'm leaning toward Julien Gachadoat, Marius Watz, or Jer Thorp to represent the aesthetic, as their work stands out more than generic tutorials. I'm still hunting for a definitive name within the pure Dithering art. Defining 1-Bit/Dithering I've refined the "Dithering" style to "1-Bit / Dithering", acknowledging the challenge of finding a dedicated "Dithering Artist." Dmitry Morozov (::vtol::) is now a leading contender, along with Laurent Malys and Hellocatfood (Antonio Roberts), for their glitch/dithering work. Lia's early generative art also informs this. Constructing The List I'm now satisfied with the style list candidates, and I'm ready to categorize them. My structure will be built on broad "Vibe" categories to make it easily digestible for viewers. The list is finalized. Building the Taxonomy I've been busy adding to the taxonomy, focusing on specific practitioners and examples. I've successfully incorporated styles like Wave Function Collapse (marian42) and Cellular Automata (Maxime Causeret). I've also integrated Live Coding and Swarm/Flocking into the framework. I'm now refining the organization for clarity. Consolidating Style Choices I've narrowed down the style list to 26 distinct styles. I'm now making final decisions about which styles to include, potentially merging or selecting the most representative 25. The goal is to provide a clear and concise presentation. I'm focusing on structuring the information for optimal user experience. This list explores the visual languages of generative art, ranging from the widely recognized to the niche and obscure. I. The Organic & Biological Styles that mimic nature’s growth, flow, and evolution. 1. Flow Fields The Vibe: Silky, sweeping, painterly lines that look like combed fur, topographic maps, or river currents. Philosophy: Uses a grid of invisible vectors (arrows) to guide the path of drawing agents, simulating fluid dynamics. Practitioner: Tyler Hobbs Example: Fidenza — A series that feels like a perfect hybrid of computer precision and abstract expressionist painting. 2. Reaction-Diffusion The Vibe: Psychedelic animal print, brain coral textures, and fingerprint-like mazes that morph and breathe. Philosophy: Simulates chemical chemicals diffusing and reacting to create complex, self-organizing patterns (Turing patterns). Practitioner: Jonathan McCabe Example: Multi-Scale Turing Patterns — Hypnotic, colorful, microscopic-looking textures. 3. Physarum (Slime Mold) Simulation The Vibe: Ghostly, veiny networks that look like fungal roots or city traffic seen from space. Philosophy: Mimics the behavior of Physarum polycephalum (slime mold) foraging for food, creating efficient transport networks. Practitioner: Sage Jenson Example: Ceres — A digital simulation where millions of particles form organic, breathing vascular structures. 4. Swarm & Flocking (Boids) The Vibe: Murmurations of starlings, schools of fish, or particles moving in synchronized, liquid chaos. Philosophy: Emergent complexity arises from simple rules: separation, alignment, and cohesion. Practitioner: Robert Hodgin Example: Flight Patterns — Visualizations of air traffic data that look like glowing, living organisms. 5. L-Systems (Lindenmayer Systems) The Vibe: Fractal trees, alien ferns, and recursive branching structures. Philosophy: Uses a grammar of string rewriting rules to model biological growth processes like plant branching. Practitioner: Jon McCormack Example: Fifty Sisters — Evolved digital plant species generated from code, presented as botanical illustrations. II. The Glitch & Chaos Styles that embrace errors, noise, and destruction. 6. Pixel Sorting The Vibe: Melty, dripping streaks of color where an image looks like it's sliding off the canvas. Philosophy: Reorders the pixels of an image based on brightness or hue, treating image data as a list of numbers to be organized. Practitioner: Kim Asendorf Example: Mountain Tour — The project that popularized the "pixel sort" aesthetic, turning landscapes into digital waterfalls. 7. Datamoshing The Vibe: Surreal, smeared transitions where one video frame "melts" into the next, often leaving artifacts of the previous scene. Philosophy: Exploits video compression errors (specifically removing I-frames) to force motion from one clip to carry the pixels of another. Practitioner: Takeshi Murata Example: Monster Movie — A video work that turns a B-movie monster into a pulsating, liquid abstraction. 8. Dithering (Algorithmic 1-Bit) The Vibe: Retro, grainy, noisy textures composed entirely of black and white dots (or limited palettes). Philosophy: Exploring how to represent continuous tone using only binary states (on/off), often finding beauty in the "noise" of error diffusion. Practitioner: Dmitry Morozov (::vtol::) Example: Ra — Uses 1-bit dithering aesthetics in hardware installations to visualize sound and laser scans. 9. Feedback Loops (Video Feedback) The Vibe: Infinite tunnels, liquid trails, and "hall of mirrors" effects that drip and echo. Philosophy: Feeding the output of a system back into its input, creating self-perpetuating, chaotic, and often uncontrollable results. Practitioner: Andrei Jay Example: Waaave Pool — A video synthesis tool that creates melting, retro-psychedelic visuals using digital feedback. III. The Mathematical & Geometric Styles rooted in pure geometry, dimensions, and logic. 10. Ray Marching (SDFs) The Vibe: Smooth, plastic-like, infinite 3D landscapes that morph continuously; often looks "squishy" or mathematically perfect. Philosophy: Renders scenes by "marching" rays forward until they hit a mathematically defined distance field, allowing for infinite detail without polygons. Practitioner: Inigo Quilez Example: Elevated — A 4KB intro (program) that generates a photorealistic mountain range from pure math in real-time. 11. Strange Attractors The Vibe: Wispy, fine-line tornados or glowing wireframe butterflies orbiting invisible points in space. Philosophy: Visualizes chaotic systems where a point orbits a specific set of values (the attractor) but never exactly repeats the same path. Practitioner: Dimitris Ladopoulos (Chaotic Atmosphere) Example: Attractors — High-definition renderings of mathematical equations that look like exquisite digital jewelry. 12. Mandelbulbs (3D Fractals) The Vibe: Infinite alien cathedrals, H.R. Giger-esque tunnels, and hyper-detailed geometric caverns. Philosophy: Extends the 2D Mandelbrot set into 3D space, creating structures with infinite complexity at any zoom level. Practitioner: Tom Beddard (subblue) Example: Fabergé Fractals — Intricate, ornate 3D fractals that resemble alien artifacts or baroque architecture. 13. Circle Packing The Vibe: Bubbles, cellular structures, or pebbles filling a container perfectly without overlapping. Philosophy: The algorithmic challenge of fitting the maximum number of non-overlapping circles (or shapes) into a defined boundary. Practitioner: Julien Gachadoat Example: Voronoi / Packing Studies — Minimalist plotter drawings where thousands of tiny circles form larger shapes or gradients. 14. Voronoi & Delaunay (Generative Low Poly) The Vibe: Shard-like, crystalline, faceted structures that look like stained glass or crumpled paper. Philosophy: Partitions a plane based on distance to points (Voronoi) or connects points into triangles (Delaunay) to reconstruct forms. Practitioner: Raven Kwok Example: 1194D — An interactive creature made of subdividing tetrahedrons that explode and reform. 15. Isometric Generative The Vibe: Impossible architecture, endless staircases, and tumbling geometric blocks in a 2.5D orthographic view. Philosophy: Uses a grid-based isometric projection to create optical illusions or dense structural compositions without perspective distortion. Practitioner: Manolo Gamboa Naon Example: Mantissa — Vibrant, dense compositions of overlapping geometric forms that feel like futuristic blueprints. IV. The Retro & Structural Styles defined by hardware limitations or structural rules. 16. Generative Plotter Art The Vibe: Minimalist, high-contrast, pen-on-paper, "shaky" lines, moiré patterns. Philosophy: Writing code specifically to be drawn by a robotic arm (pen plotter), embracing the friction and ink bleed of the physical world. Practitioner: Vera Molnár Example: Structure de Quadrilatères — Simple squares slightly offset by random algorithms to investigate the line between order and chaos. 17. ASCII / PETSCII Art The Vibe: Images constructed entirely from text characters, looking like "The Matrix" code or vintage terminal displays. Philosophy: Using the density of typographic characters (glyph brightness) to represent light and shadow. Practitioner: Kenneth Knowlton Example: Studies in Perception I — An iconic nude portrait made entirely of computer symbols, one of the earliest digital artworks. 18. Vector Synthesis (Oscilloscope Art) The Vibe: Glowing green neon lines, lissajous knots, and shapes that vibrate and twist with sound. Philosophy: Using audio signals to drive the X and Y deflection of an electron beam on an analog oscilloscope—you are literally "seeing" the sound. Practitioner: Jerobeam Fenderson Example: Oscilloscope Music — Music videos where the audio waveform draws 3D shapes (mushrooms, butterflies) on the screen. 19. Demoscene (4k Intros) The Vibe: Flashy, high-speed, techno-futuristic 3D graphics that push hardware to the limit. Philosophy: Extreme efficiency; creating a full audiovisual experience (music + video) in an impossibly small file size (e.g., 4096 bytes). Practitioner: Farbrausch Example: fr-08: .the .product — A seminal 64kb intro that generated an entire 3D world and soundtrack from a file smaller than a JPEG. 20. Subdivision / Computational Architecture The Vibe: Gothic, bone-like, incredibly detailed columns and grottos that look grown rather than built. Philosophy: Recursively dividing simple shapes into smaller, more detailed versions of themselves (folding) to create massive surface complexity. Practitioner: Michael Hansmeyer Example: Digital Grotesque — A 3D-printed room so detailed it contains millions of unique facets, generated by subdivision algorithms. V. The Abstract & Conceptual Styles that deal with language, time, and perception. 21. Asemic Writing (Generative) The Vibe: Alien scripts, calligraphy that means nothing, sprawling glyphs that look like ancient manuscripts. Philosophy: Generating text-like forms that have no semantic meaning, focusing purely on the aesthetic of written language. Practitioner: Xu Bing (or digital practitioner Tim Gaze) Example: A Book from the Sky — While hand-carved, it is the foundational conceptual work for this style; modern versions generate these glyphs with AI/code. 22. Slit-Scan / Time Displacement The Vibe: Stretched, jelly-like distortions where moving objects look like long, twisted tubes. Philosophy: visualizing time as space by capturing a single sliver of a video frame over and over and stacking them horizontally. Practitioner: Adam Magyar Example: Stainless — High-speed subway trains captured through a slit-scan, making the busy commuters look like frozen statues in a void. 23. Cellular Automata The Vibe: Pixelated "critters" moving on a grid, expanding crystals, and retro-arcade textures. Philosophy: Discrete models where the state of a cell depends on the state of its neighbors (e.g., Conway's Game of Life), creating complex behavior from simple rules. Practitioner: Maxime Causeret Example: Order from Chaos — A video visualizing cellular automata rules that evolve from simple dots into complex, organism-like colonies. 24. Live Coding (Algorave) The Vibe: Cyberpunk, flashing code overlaid on top of the visuals it is creating in real-time. Philosophy: Showing the "seams" of the art; the code is the interface and the art simultaneously, written live in front of an audience. Practitioner: Olivia Jack Example: Hydra — A live-coding video synth that runs in the browser, allowing for glitchy, feedback-heavy visuals created by typing code on the fly. 25. Wave Function Collapse The Vibe: Pixel-art cities that assemble themselves, pipes that always connect perfectly, procedural dungeons. Philosophy: An algorithm that fills a grid by determining which tiles can exist next to each other based on a set of constraints, solving the "puzzle" of the image. Practitioner: marian42 (Marian Kleineberg) Example: Infinite City — A procedural city generator that creates endless, logical, navigable 3D structures.

Gemini: Visual data art styles


I compiled a catalog of websites with cult-followed designs, from brutalist relics like Berkshire Hathaway to neon-noir editorial styles like The Verge, providing concise stylistic blueprints for creators and AI agents.

User Catalog all websites (personal, organizational, community, whatever) admired (either popularly, or by a VERY devoted niche) for their distinctive style of website design. In a single line (max 80 words), characterize their style clearly enough so that an AI agent or human unaware of their work will be able to create a piece capturing their distinctive style of work. Gemini Thinking: Exploring Design Inspiration I've initiated searches for websites with standout designs, focusing on terms like "distinctive website designs" and "cult following for design." I'm also exploring resources discussing "personal websites admired for design" and "brutalist" design aesthetics. Thinking: Analyzing Web Aesthetics I've successfully compiled a preliminary list of websites that exemplify the requested design styles. The "Brutalist" examples I've found include Craigslist, Drudge Report, and Bloomberg (though the latter's brutalist connection is debated). Additionally, Balenciaga's online presence often shows brutalist design. I am now proceeding to verify the accuracy of the categorizations. Compiling Style Examples I'm now identifying personal websites. I've found Bruno Simon's interactive 3D site, J.K. Rowling's immersive site, and Seth Godin's minimalist blog. Tim Ferriss has a clean, brand-focused site. I'm also considering Raissa Pardini. For maximalism, Lings Cars is a classic "bad-good" example, along with Palace Lido and Razzle Dazzle. Poolsuite is another standout, featuring retro/vaporwave vibes. Apple, Gov.uk, and Stripe are clear minimalist/clean contenders. Finally, I've got Berkshire Hathaway for a cult/devoted niche example. Here is a catalog of websites admired for their distinctive design styles, categorized by their aesthetic philosophy. Each entry includes a characterization designed to serve as a functional prompt for recreating that specific vibe. The Utilitarian / Brutalist Cult Websites that reject modern polish in favor of raw information density, often maintaining designs unchanged for decades. Craigslist Style: An aggressively anti-aesthetic brutalist directory featuring raw HTML lists, standard blue hyperlinks, zero whitespace, and a dense, text-only layout that prioritizes utility and speed over visual hierarchy or decoration. Berkshire Hathaway Style: A hyper-functional corporate relic consisting of a static white background, Times New Roman text, simple bulleted hyperlinks, and a complete absence of images, CSS styling, or modern navigation elements. Drudge Report Style: A manic, news-aggregator aesthetic defined by a crowded three-column layout, monospace fonts, screaming all-caps headlines, flashing GIF sirens, and a chaotic high-contrast black-and-white visual rhythm. The "Good-Bad" Maximalists Sites that achieve cult status by breaking every rule of "good" taste, resulting in an overwhelming, memorable sensory overload. Lings Cars Style: A chaotic, psychedelic maximalism exploding with clashing neon colors, tiling animated GIF backgrounds, auto-playing folk music, mismatched fonts, and bizarre cut-out photos that create a frenetic, humorous, and overwhelming sensory overload. Bloomberg (Modern Brutalism) Style: An avant-garde digital brutalism that mixes stark black-and-white grids with jarring neon highlights, bold oversized typography, exposed structural lines, and a deliberate lack of smoothing or shadows to create a frantic, data-heavy trading terminal vibe. The Immersive & Interactive Personal and portfolio sites that function more like video games or art installations than documents. Bruno Simon Style: A playful, physics-based 3D environment where the user navigates a toy car through a low-poly micro-world, using gaming controls to explore portfolio items physically placed as interactive landmarks in the terrain. Poolsuite (formerly Poolside FM) Style: A sun-drenched "internet retro" OS interface mimicking a 1986 Macintosh desktop, featuring pastel pinks and teals, pixelated icons, floating video windows playing VHS footage, and a nostalgic, vaporwave summer leisure aesthetic. The High-Gloss Corporate Standard The "Gold Standard" designs that entire industries attempt to copy. Stripe Style: A luminous, technical perfectionism featuring subtle animated gradients, glass-morphism effects, crisp sans-serif typography, and complex, isometric 3D illustrations that float seamlessly against a clean, ultra-modern layout. Apple Style: A luxurious, monolithic minimalism dominated by massive high-resolution product photography, vast negative space, large-scale typography, and smooth parallax scrolling that treats every hardware detail as a museum object. GOV.UK Style: The ultimate accessible minimalism, using a specific heavy black font (GDS Transport) on white, distinct black header bars, and a rigorous, layout-agnostic focus on clarity, readability, and information architecture without a single unnecessary pixel. The Editorial & Typographic Sites that treat the web screen like a high-end fashion magazine or poster. The Verge Style: A neon-noir editorial boldism featuring dark modes with high-contrast fluorescent accents, jagged "glitch" aesthetic textures, and aggressive, oversized typography that blends cyberpunk influences with traditional newspaper grid layouts. A24 Style: A moody, cinematic minimalism that relies on sparse layouts, ample whitespace, and distinctively small, mono-spaced type paired with large, uncropped film stills to create an atmosphere of mysterious, high-art exclusivity. Next Step Would you like me to generate a specific prompt for an image generator (like Midjourney or DALL-E) based on one of these styles? User Rewrite in this style: The Verge: A neon-noir... Gemini Thinking: Initiating Format Transformation I'm currently focused on the specific format requested. My primary task is to adapt the existing catalog to match the new template: -Name: Description.... I'm breaking down how to extract the relevant components from the current structure for the transformation. Compiling Website Data I'm now in the process of compiling website data and validating the links in my list, like Craigslist and Berkshire Hathaway. My next step involves confirming the URLs. I'll search if needed to make sure all links are correct, and then work to append the website names to the existing list. Exploring 's Website Designs I've been analyzing specific website designs. I'm focusing on the "modern brutalist" era, like Bruno Simon and Poolsuite. I've noted the simplicity of each site's URLs. I'm also preparing to integrate this data into my existing work by creating new list items. I will continue collecting data for the project. Assessing Visual Aesthetics I've been analyzing extreme website design styles. I'm taking in the chaotic maximalism of Lings Cars, the avant-garde brutalism of Bloomberg, the playful 3D of Bruno Simon, and the retro OS interface of Poolsuite. I'm focusing on their use of headlines, visual rhythm, and how these elements create a specific aesthetic. Contrasting Design Aesthetics I've been contrasting the visual styles of websites, focusing on a range of aesthetics. I'm taking in the pixelated icons and floating VHS footage of a vaporwave site, alongside the glass-morphism and 3D illustrations of Stripe. I'm also examining Apple's monolithic minimalism, the stark clarity of GOV.UK, and The Verge's neon-noir editorial boldism. I am also planning the integration of these observations. Craigslist: An aggressively anti-aesthetic brutalist directory featuring raw HTML lists, standard blue hyperlinks, zero whitespace, and a dense, text-only layout that prioritizes utility and speed over visual hierarchy or decoration. Berkshire Hathaway: A hyper-functional corporate relic consisting of a static white background, Times New Roman text, simple bulleted hyperlinks, and a complete absence of images, CSS styling, or modern navigation elements. Drudge Report: A manic, news-aggregator aesthetic defined by a crowded three-column layout, monospace fonts, screaming all-caps headlines, flashing GIF sirens, and a chaotic high-contrast black-and-white visual rhythm. Lings Cars: A chaotic, psychedelic maximalism exploding with clashing neon colors, tiling animated GIF backgrounds, auto-playing folk music, mismatched fonts, and bizarre cut-out photos that create a frenetic, humorous, and overwhelming sensory overload. Bloomberg: An avant-garde digital brutalism that mixes stark black-and-white grids with jarring neon highlights, bold oversized typography, exposed structural lines, and a deliberate lack of smoothing or shadows to create a frantic, data-heavy trading terminal vibe. Bruno Simon: A playful, physics-based 3D environment where the user navigates a toy car through a low-poly micro-world, using gaming controls to explore portfolio items physically placed as interactive landmarks in the terrain. Poolsuite: A sun-drenched "internet retro" OS interface mimicking a 1986 Macintosh desktop, featuring pastel pinks and teals, pixelated icons, floating video windows playing VHS footage, and a nostalgic, vaporwave summer leisure aesthetic. Stripe: A luminous, technical perfectionism featuring subtle animated gradients, glass-morphism effects, crisp sans-serif typography, and complex, isometric 3D illustrations that float seamlessly against a clean, ultra-modern layout. Apple: A luxurious, monolithic minimalism dominated by massive high-resolution product photography, vast negative space, large-scale typography, and smooth parallax scrolling that treats every hardware detail as a museum object. GOV.UK: The ultimate accessible minimalism, using a specific heavy black font (GDS Transport) on white, distinct black header bars, and a rigorous, layout-agnostic focus on clarity, readability, and information architecture without a single unnecessary pixel. The Verge: A neon-noir editorial boldism featuring dark modes with high-contrast fluorescent accents, jagged "glitch" aesthetic textures, and aggressive, oversized typography that blends cyberpunk influences with traditional newspaper grid layouts. A24: A moody, cinematic minimalism that relies on sparse layouts, ample whitespace, and distinctively small, mono-spaced type paired with large, uncropped film stills to create an atmosphere of mysterious, high-art exclusivity.

Gemini: Website styles


I researched and mapped the landscape of Indian data platforms, covering civic reporting, open data communities, and geospatial startups. This list details founding teams, business models, and financial health for key players like IndiaSpend, SatSure, and CivicDataLab.

I Paid a Bribe (2010) Founded by: Janaagraha (co-founded by Swati Ramanathan & Ramesh Ramanathan) (Tracxn) Status: Ongoing as a Janaagraha initiative (current activity of the specific site varies by city/campaign; Janaagraha remains active) (janaagraha.org) Offering: Civic reporting + advocacy platform; sustained via donations/grants through Janaagraha (janaagraha.org) Financials: Janaagraha’s audited statement shows total income ₹243.46M (₹24.35 cr) for FY ending Mar 31, 2024 (janaagraha.org); FCRA statement shows donation income ₹174.38M (FY ending Mar 31, 2024) (janaagraha.org) (org-level, not IPaB-only) DataMeet (2011) Founded by: Thejesh GN and S Anand (Data{Meet}) Status: Active community (volunteer-led) (Data{Meet}) Offering: Community meetups, open-data projects; typically volunteer / partner-supported (Data{Meet}) Financials: No standardized public financial reporting (community initiative) (Data{Meet}) IndiaSpend / Spending & Policy Research Foundation (2011) Founded by: Govindraj Ethiraj (managing trustee; SPRF set up with an initial ₹10,000 investment per Oxford Academic chapter) (OUP Academic) Status: Active data journalism org (Indiaspend) Offering: Non-profit model: donations/grants; acknowledges philanthropic support (e.g., IPSMF support noted) (Indiaspend) Financials: Public exact revenues aren’t consistently published on a single page; verified datapoint: started with ₹10,000 investment (OUP Academic) SocialCops (2012) Founded by: Prukalpa Sankar and Varun Banka. (Forbes India) Status: No longer operating as the original “projects” startup; continued as a “data for social good community” while the team shifted focus to Atlan. (Forbes India) Offering: Earlier: data-intelligence projects + internal tools; later opened up tools for data teams and pointed users to Atlan. (Forbes India) Financials: Tracxn lists total funding of $320K (seed, Jul 30, 2014). (Tracxn) FactChecker.in (2014) (product under IndiaSpend) Founded by: IndiaSpend/SPRF initiative (PRS Legislative Research) Status: Active (as a fact-checking initiative associated with IndiaSpend) (PRS Legislative Research) Offering: Sustained via IndiaSpend’s non-profit funding base (Indiaspend) Financials: No separate public financials (bundled into parent org) (Indiaspend) How India Lives (2014) Founded by: Avinash Singh, N S Ramnath, John Samuel Raja Duraipandy (Tracxn profile); HIL’s own team page also lists Avinash Singh + Avinash Celestine as “Co-founder”. (Tracxn) Status: Active (site is live; products like “Gram” and “Sales Pulse” are being offered). (howindialives.com) Offering: Public-data products (e.g., Gram, Sales Pulse) + consulting/services around identifying/extracting/analyzing/visualising public data. (howindialives.com) Financials: Tracxn lists annual revenue of ₹1.92 Cr (as on Mar 31, 2022); Sales Pulse lists pricing at ₹35,400/quarter and ₹1,18,000/year (incl. taxes). (Tracxn) Data.gov.in / OGD Platform India (launched 2012) Founded by: Government of India (built/hosted by NIC, MeitY) (Data.gov.in) Status: Active (Wikipedia) Offering: Public digital infrastructure (tax-funded) (Data.gov.in) Financials: Not a commercial venture; budgeted via government programmes (no single “revenue” number) (Data.gov.in) CMIE – Consumer Pyramids Household Survey (CPHS) (running since 2014) Founded by: CMIE (The India Forum) Status: Active dataset used widely in research (The India Forum) Offering: Subscription access to microdata for institutions/researchers (The India Forum) Financials: One public datapoint on pricing: “membership subscription fee … $25,000 for one year” (example cited) (The India Forum) (CMIE’s own full financials may not be openly published like listed companies) Thurro (2016) Founded by: Karthik Ranganathan, Mrinalini Rao, Akhilesh Tilotia. (Thurro) Status: Active. (Thurro) Offering: Data/alternative-data driven “financial intelligence” (research, notebooks/analyses, data products). (Thurro) Financials: Tracxn lists annual revenue of ₹95.7L (as on Mar 31, 2024) and $0 funding. (Tracxn) Alt News (Feb 2017) Founded by: Pratik Sinha, Mohammed Zubair. (Wikipedia) Status: Active. (Wikipedia) Offering: Non-profit fact-checking; runs under Pravda Media Foundation (Section 8 company); funded via donations + grants. (Alt News) Financials: Alt News discloses at least ₹3,00,000 received in FY2017–18 from Zindabad Trust; Tracxn lists Pravda Media Foundation revenue ₹2.18 Cr (FY ending Mar 31, 2025) (entity operating Alt News). (Alt News) OpenCity (2017) Founded by: A programme of the Oorvani Foundation, in collaboration with DataMeet. (re3data.org) Status: Active (Urban Data Portal continues to host datasets). (re3data.org) Offering: Open urban data portal consolidating city datasets for planners/researchers/citizens; civic-tech transparency + evidence-based governance use. (re3data.org) Financials: No venture-level financials publicly stated in the repository description; best understood as a nonprofit programme/civic-tech initiative. (re3data.org) SatSure (Sep 2017) Founded by: Prateep Basu, Rashmit Singh Sukhmani, Abhishek Raju (core team/founders listed in profile coverage). (YourStory.com) Status: Active. (YourStory.com) Offering: Geospatial / satellite-data analytics for agriculture, infrastructure, climate-risk and decisioning. (YourStory.com) Financials: Tracxn lists $27.7M total funding and (for the Indian legal entity) ₹9.65 Cr revenue (FY ending Mar 31, 2024). (Tracxn) Data Sutram (2018) Founded by: Rajit Bhattacharya, Aisik Paul, Ankit Das. (datasutram.com) Status: Active. (YourStory.com) Offering: AI-driven external-data intelligence for fraud/risk/compliance (RegTech), used by banks/NBFCs/fintechs. (YourStory.com) Financials: Raised $9M Series A (May 22, 2025) (mix of primary/secondary). Valuation is not disclosed publicly (some outlets report an estimated range, but the company hasn’t confirmed it). (YourStory.com) health-check.in (Apr 2019) Founded by: Launched by IndiaSpend (as a dedicated public-health reporting resource). (Indiaspend) Status: Active. (Indiaspend) Offering: Health data journalism + analysis on public health, nutrition, lifestyle diseases, health finance & governance. (HealthCheck) Financials: No separate public financials for the vertical; it’s sustained as part of IndiaSpend’s broader newsroom model. (Indiaspend) National Data & Analytics Platform – NDAP (launched May 13, 2022) Founded by: NITI Aayog (Press Information Bureau) Status: Active (National Data and Analytics Platform) Offering: Public data access + analytics/visualization tools (tax-funded) (Press Information Bureau) Financials: Not a commercial venture; no revenue (government platform) (Press Information Bureau) Factly (2014–2016) Founded by: Founded/led by Rakesh Dubbudu (origin story: started as a blog in 2014; later became Factly; fact-checking arm recognised as launched in early 2016) (factlylabs.com) Status: Active fact-checking + data stories (ifcncodeofprinciples.poynter.org) Offering: Mix of fact-checking, data journalism, and partnerships; IFCN listing describes the organisation and its work (ifcncodeofprinciples.poynter.org) Financials: Precise revenues aren’t reliably public in one canonical place; third-party “revenue estimate” sites are inconsistent, so I’m not treating them as verified financials (FACTLY) BOOM (BoomLive) (2014; current avatar since 2016) Founded by: Operated by Outcue Media Pvt Ltd; BOOM describes itself as India’s first fact-checking initiative (current avatar since Nov 2016) (BOOM) Status: Active (BOOM) Offering: BOOM says income is from social platforms, contract work, and training; also focuses on fact-checking & media literacy (BOOM) Financials: Tracxn reports Outcue Media revenue ₹12.2Cr for FY ending Mar 31, 2024 (Tracxn) (company-level) Alt News (Pravda Media Foundation, 2017) Founded by: Directors include Pratik Sinha and Mohammed Zubair (Pravda Media Foundation) (Tofler) Status: Active (Tofler) Offering: Donation-funded non-profit (Moneycontrol describes it as funded primarily by donations) (Moneycontrol) Financials: Financials vary by source: Tofler lists operating revenue “under ₹1 cr” for FY ending Mar 31, 2023 (Tofler); Tracxn reports ₹2.18Cr revenue for FY ending Mar 31, 2025 (Tracxn) CivicDataLab (2018) Founded by: Co-founders Gaurav Godhwani and Deepthi Chand Alagandula (civicdatalab.in) Status: Active (company status shown as active in corporate registries) (ZaubaCorp) Offering: Public-good data/tech/design work; typically sustained via grants, partnerships, and contracted projects (data.org) Financials: Tracxn reports revenue ₹3.9Cr for FY ending Mar 31, 2025 (Tracxn) (company-level) FactIQ (2024). Focus on US economy but has "honorary membership" on this list Founded by: Rishabh Srivastava and Medha Basu Status: Active (FactIQ) YC-backed startup Offering: B2B data product (US “facts / signals” for teams; details vary by pitch) Financials: No public revenue disclosed. YC profile Data For India (Apr 2024) Founded by: Rukmini S Status: Active Offering: Free public data + insights + charts; sustainability model not clearly specified on the launch post Financials: No public financials disclosed on the launch post/site pages referenced How India Lives (2014) Founded by: Avinash Singh, N S Ramnath, John Samuel Raja Duraipandy (Tracxn profile); HIL’s own team page also lists Avinash Singh + Avinash Celestine as “Co-founder”. ([Tracxn][1]) Status: Active (site is live; products like “Gram” and “Sales Pulse” are being offered). ([howindialives.com][2]) Offering: Public-data products (e.g., Gram, Sales Pulse) + consulting/services around identifying/extracting/analyzing/visualising public data. ([howindialives.com][3]) Financials: Tracxn lists annual revenue of ₹1.92 Cr (as on Mar 31, 2022); Sales Pulse lists pricing at ₹35,400/quarter and ₹1,18,000/year (incl. taxes). ([Tracxn][1]) Thurro (2016) Founded by: Karthik Ranganathan, Mrinalini Rao, Akhilesh Tilotia. ([Thurro][4]) Status: Active. ([Thurro][4]) Offering: Data/alternative-data driven “financial intelligence” (research, notebooks/analyses, data products). ([Thurro][4]) Financials: Tracxn lists annual revenue of ₹95.7L (as on Mar 31, 2024) and $0 funding. ([Tracxn][5]) SocialCops (2012) Founded by: Prukalpa Sankar and Varun Banka. ([Forbes India][6]) Status: No longer operating as the original “projects” startup; continued as a “data for social good community” while the team shifted focus to Atlan. ([Forbes India][6]) Offering: Earlier: data-intelligence projects + internal tools; later opened up tools for data teams and pointed users to Atlan. ([Forbes India][6]) Financials: Tracxn lists total funding of $320K (seed, Jul 30, 2014). ([Tracxn][7]) Alt News (Feb 2017) Founded by: Pratik Sinha, Mohammed Zubair. ([Wikipedia][8]) Status: Active. ([Wikipedia][8]) Offering: Non-profit fact-checking; runs under Pravda Media Foundation (Section 8 company); funded via donations + grants. ([Alt News][9]) Financials: Alt News discloses at least ₹3,00,000 received in FY2017–18 from Zindabad Trust; Tracxn lists Pravda Media Foundation revenue ₹2.18 Cr (FY ending Mar 31, 2025) (entity operating Alt News). ([Alt News][9]) OpenCity (2017) Founded by: A programme of the Oorvani Foundation, in collaboration with DataMeet. ([re3data.org][10]) Status: Active (Urban Data Portal continues to host datasets). ([re3data.org][10]) Offering: Open urban data portal consolidating city datasets for planners/researchers/citizens; civic-tech transparency + evidence-based governance use. ([re3data.org][10]) Financials: No venture-level financials publicly stated in the repository description; best understood as a nonprofit programme/civic-tech initiative. ([re3data.org][10]) SatSure (Sep 2017) Founded by: Prateep Basu, Rashmit Singh Sukhmani, Abhishek Raju (core team/founders listed in profile coverage). ([YourStory.com][11]) Status: Active. ([YourStory.com][11]) Offering: Geospatial / satellite-data analytics for agriculture, infrastructure, climate-risk and decisioning. ([YourStory.com][11]) Financials: Tracxn lists $27.7M total funding and (for the Indian legal entity) ₹9.65 Cr revenue (FY ending Mar 31, 2024). ([Tracxn][12]) Data Sutram (2018) Founded by: Rajit Bhattacharya, Aisik Paul, Ankit Das. ([datasutram.com][13]) Status: Active. ([YourStory.com][14]) Offering: AI-driven external-data intelligence for fraud/risk/compliance (RegTech), used by banks/NBFCs/fintechs. ([YourStory.com][14]) Financials: Raised $9M Series A (May 22, 2025) (mix of primary/secondary). Valuation is not disclosed publicly (some outlets report an estimated range, but the company hasn’t confirmed it). ([YourStory.com][14]) health-check.in (Apr 2019) Founded by: Launched by IndiaSpend (as a dedicated public-health reporting resource). ([Indiaspend][15]) Status: Active. ([Indiaspend][15]) Offering: Health data journalism + analysis on public health, nutrition, lifestyle diseases, health finance & governance. ([HealthCheck][16]) Financials: No separate public financials for the vertical; it’s sustained as part of IndiaSpend’s broader newsroom model. ([Indiaspend][15]) [1]: https://tracxn.com/d/companies/how-india-lives/zrqFXpqyV8BlisojRmBKw6cJFaFw33C6IszZPrzfA "How India Lives - 2025 Company Profile & Team" [2]: https://howindialives.com/gram/ "HIL || Home" [3]: https://howindialives.com/gram/aboutus.php "HIL || Products & Services" [4]: https://thurro.com/about-us/ "About Us" [5]: https://tracxn.com/d/companies/thurro/IohcH86Qg9gK62LNdNzVd1FXVK3Kzyrm0uA0dMjz9Yg "Thurro - 2026 Company Profile & Team" [6]: https://www.forbesindia.com/article/startups/atlan-putting-data-to-work/55003/1 "Atlan: Putting data to work" [7]: https://tracxn.com/d/companies/socialcops/zgrL6LvfkAORC900ADahsPTx2FrO1vRraWce3AJ5N2I/funding-and-investors "2025 Funding Rounds & List of Investors - SocialCops" [8]: https://en.wikipedia.org/wiki/AltNews "Alt News" [9]: https://www.altnews.in/transparency-of-funding/ "Transparency of funding - Alt News" [10]: https://www.re3data.org/repository/r3d100014471 "OpenCity-Urban Data Portal | re3data.org" [11]: https://yourstory.com/companies/satsure "SatSure Company Profile Funding & Investors" [12]: https://tracxn.com/d/companies/satsure/VwEdVJFx8Cug7LbMA9eS2RoSqaCCx4VQxzm6i69hdo "SatSure - 2025 Company Profile & Team" [13]: https://datasutram.com/blog?categories=35%2C53%2C48%2C39%2C33%2C43%2C52%2C47%2C38%2C22%2C9&page=4 "30 Startups To Watch" [14]: https://yourstory.com/2025/05/data-sutram-9m-series-a-funding-b-capital-lightspeed "Data Sutram bags $9M series A funding led by B Capital, ..." [15]: https://www.indiaspend.com/about-us "About Us" [16]: https://www.health-check.in/ "HealthCheck: Data journalism, analysis on health, nutrition ..."

India data platforms


I’ve curated a directory of India’s data visualization leaders across journalism, cartography, and generative art. This list features practitioners from Reuters, The Hindu, and CivicDataLab, focusing on specialists in GIS mapping, public data storytelling, and information design.

India Data Visualisation People Aman Bhargava Amit Kapoor - Narrative Advisors Anand Katakam Anand S Arun Ganesh - Maps Arvind Venkatadri Avinash Celestine - How India Lives Team Gaurav Godhwani - CivicDataLab Gurman Bhatia - Revisual Labs IndiaSpend Team - Public interest graphics Karthik Shashidhar Pallav Nadhani - FusionCharts Pramit Bhattacharya - Data for India Pratap Vardhan - Stats of India Priti Pandurangan Rasagy Sharma Richie Lionell Ritvvij Parrikh - Times Internet Rukmini Shrinivasan - Data for India Sajjad Anwar - Maps Shailesh Kumar - Jio Srinivasan Ramani - The Hindu Sudalai Rajkumar (SRK) - H2O.ai Venkatesh Rajamanickam - IITB Vignesh Radhakrishnan - The Hindu Vijay Natarajan - IISc Vikram Nayak - ChartBoss Outside India Arvind Satyanarayana - MIT Curran Kelleher - Independent Rishabh Srivastava Peripheral Amar Devadason - RRD Anantharaman Mani Chakradhar Saswade - NID Indranil Chakraborty Nathalie Riche - Microsoft Research Rajkamal Aich Rohit Saran Sugata Srinivasaraju Zainab Bawa - Hasgeek People I have not yet met Aakanksha Chowdhery - Google DeepMind - Model behavior visuals Abhinav Vajpayee - Razorpay - Fintech economy metrics Abhishek Waghmare - Data for India - Researcher and writer focusing on deep dives into employment, economy, and public data. Aditya Goenka - Independent - Power BI training Amanat Kaur - Independent - Identity-driven data art Amit Kumar Das - Visual BI - Executive dashboards Anoushka Dalmia - DataLeads - Health data journalism Anurag Rao - Reuters Graphics - Illustrator and Information Designer; combines artistic illustration with rigorous data reporting. Apar Gupta - Strategic Advisor - Policy communication Arjun Gopal - Independent - Generative visual systems Ashris Choudhury - India in Pixels - Cultural motion graphics Ayushi Kar - The Reporters' Collective - Data journalist known for investigative work on electoral bonds and political funding. Bhanu Kamapantula - Independent - Public data scraping/viz Chitraksh Sharma - CivicDataLab - Social justice visuals Dipanjan Sarkar - Independent - Visual NLP & ML Divya Ribeiro - Revisual Labs / Godrej Design Lab - Project Lead for the award-winning Building a Climate Conscious India report. Harshit Agrawal - Independent - A pioneer in AI and generative art in India; explores the intersection of human-machine creativity (often associated with BeFantastic). Herry Gulabani - IIHS - Climate risk mapping Ipsa Jain Kabir Agarwal - Independent - Climate & agri data Kanika Gupta - Independent - Civic storytelling Kannan Sundar - The Hindu - National Design Editor at The Hindu; leads the team responsible for award-winning infographics and print layouts (SND, Malofiej). Karthikeya G S - Reuters Graphics - Won a Bronze at the Information is Beautiful Awards 2023 for Screens of August. Krish Naik - Independent - Technical ML/Viz tutorials Manish Gupta - Google Research - Knowledge graphs Nandita Kumar - Independent - New media artist known for complex installations that visualize environmental data and sound (e.g., Gali Art Project, Khoj). Nasr Ul Hadi - Newsroom data strategy Natasha Singh - Timeblur Naveen Bagalkot - Srishti Manipal - Data physicalization Osama Manzar - DEF - Digital inclusion mapping Padmini Ray Murray - Design Beku Paresh Dobariya - GetOnData - BI consulting Parvathy Arangath - Reuters Graphics / NID Alum - Won the 'Rising Star' Gold at the Information is Beautiful Awards 2023. Piyanka Jain - Aryng - Visual decision frameworks Prasann Prem - VizDiner - Tableau mentorship Prasanta Kumar Dutta - Reuters Graphics Prashanth Southekal - DBP Institute - Data monetization Puru Shinde - Independent - 3D/WebGL visualization Raj Bhagat Palanichamy - WRI India - Satellite imagery & GIS Ramprakash Ramamoorthy - Zoho - LLM/UI interfaces Ruchi Sharma - Independent - Generative code art Samarth Bansal - Independent - Data-led investigations Sannuta Raghu - Scroll.in - Head of the AI Lab at Scroll.in; leads innovative news product experiments and data-led investigations. Sheetal Agarwal - Tableau Visionary - Enterprise analytics Shreya Suri - Independent - Long-form visual stories Shriya Anand - IIHS - Urban spatial research Shyamlal Yadav - The Indian Express - Senior Editor and RTI expert; a pioneer in using the Right to Information Act for data-driven investigative reporting. Sudev Kiyada - Reuters Graphics - Graphics Journalist based in Bangalore; winner of an Information is Beautiful Award (2023) for work on North Korea. Sumeet Moghe - Thoughtworks - Delivery system visuals Surbhi Bhatia - Independent - Information designer recognized by FlowingData for projects like "Battle of the Chocolate Bars". Tanay Sukumar - Mint - Leads the Plain Facts team at Mint, overseeing one of India's most consistent daily data journalism sections. Tarun Deep Girdher - NID The Ken Data Team - Business narrative charts Tushar Arora - Google - Observability UX Upasana Nattoji Roy - Switch Studio - Motion designer and artist working with interactive installations and data narratives (e.g., Give Me A Sign). Vardhini Kalyanaraman - Independent - Data literacy comics Vasanth Kumar - Independent - Dashboard UI architecture Vijdan Mohammad Kawoosa - Reuters Graphics - Data and Graphics Journalist; formerly with Hindustan Times, known for mapping and conflict visualization. Vineeth Balasubramaniam - IIT Hyderabad - Explainable AI (XAI) Partha Talukdar - Google Research Sources Amit Kapoor's list Gemini

India data visualization people