Thursday, March 10, 2011

Impact of the role of the Chief Customer Officer

Back in May of 2005, I wrote about the role of the Chief Experience Officer, beginning with Challis Hodge's 2001 description of the role (as first held by Marc Rettig) and culminating in Jeffrey Rapport's 2005 advocation of the creation of the role in modern companies. In mid-2007, I updated the story, describing additional advocations of the creation of the role, a conference panel discussion I led of the pros and cons of the role, and the 2007 highly-publicized hiring of a Chief Experience Officer by Cleveland Clinic.

Forrester Research's initial advocation of the creation of the role in 2006 referred to it as a CC/EO -- a Chief Customer/Experience Officer. Subsequently, the word "Experience" in the title lost favor, and creation of the role of the Chief Customer Officer has taken off. There is even a (somewhat dated) book available about the role and a member-led advisory network of CCO peers.

Who is filling these roles? According to Forrester's Paul Hagan:
"The majority are internal hires who have a significant history at their companies: median time at their firms among those we studied is nearly eight years. A third of the CCOs previously held division president or general manager roles, and almost as many worked in a marketing and/or sales position. On the flip side, about one-fourth of these CCOs formerly held operations positions."
As noted by Samantha Starmer in UX Magazine, UX people are not the ones getting these newly created C-level positions. Plus, all sorts of departments are expected to be scrambling to play a major role in customer experience (CX) moving forward. This has prompted Samantha to warn:
"Given the current power of CX at the C-level, UX practitioners must step up our game, otherwise we will lose progress we have made to be more deeply involved in strategy beyond just performing usability services. We need to act now to be part of the broader CX solution. If we don't proactively collaborate across divisions and organizational structures, we will be stuck playing in the corner by ourselves. If we don't figure out how to manage partnerships with other departments in a collaborative, creative, customer focused way, the discipline of UX as we know it is at risk. CX management will take over."
In her article, Samantha emphasizes the need for UX to partner with marketing, an entity with which UX has had a strained history. Such partnerships have the potential to work wonderfully well, as suggested by the successful merger of user experience research and market research to form a Customer Insights organization a few years ago at Yahoo! (see "User (experience) research, design research, usability research, market research, ..." and "Why Designers Sometimes Make Me Cringe").

Partnership with organizations other than marketing is also important. Successful examples, led by UX, include those described by Secil Watson in "The Business of Customer Experience: Lessons Learned at Wells Fargo" and me (and others) in "Improving the Design of Business and Interactive System Concepts in a Digital Business Consultancy" and "Perturbing the ecosystem via intensive, rapid, cross-disciplinary collaboration."

How do you partner successfully? Genuine collaboration is a key, and the keys to collaboration are many, as I've addressed in past blog entries. See, for example:
Learning about other organizations' needs, goals, ways of working, etc. is also key. Take a look at what Misha Vaughn did to enable UX to impact and be appreciated by Oracle's sales force.

All of this and more -- e.g., getting UX moved from a cost center to an investment center (Brandon Schauer, MX 2011) -- may be essential to ensuring UX plays a vital role in the ballooning world of CX and CX management and to getting UX management personnel recognized as among the stronger candidates to fill the CCO role.

---
For more, see "Audio and slides for 'Moving UX into a position of corporate influence: Whose advice really works?'", "Ownership of the user-customer experience," and "Where should 'User Experience' be positioned in your company?".

Sunday, October 11, 2009

Interactions and relationships

For the Mx (Managing Experience) 2008 conference, I was asked to do a session that addressed the everyday reality that managers of user experience live in, to reflect on that reality, and to share some approaches and ideas for that reality. I decided to focus largely on some of the interactions and relationships that comprise that everyday reality, but particularly those by managers intent on enabling experience research and design to play a strategic role in their companies. I entitled, the presentation, "Interactions and Relationships."

A description of this presentation can be found in my April 2008 posting entitled, "Realities, dilemmas, framings, ..." Here I provide the slides I used, which are rich with provocative insights. Since I've been asked for these slides a lot...


The first 9 slides accompanied introductory remarks that set the context for the presentation. A particularly important slide includes a collage of photos of the managers and executives who made guest appearances at a multi-week course I taught just prior to Mx '08 entitled, "User Experience Managers and Executives Speak." The course was wonderful, as reflected in the glowing course evaluations, and I decided to provide some of my guest speakers with a bigger stage via my Mx '08 presentation.

Slides 10 through 32 were borrowed from my presentation at a little conference in Rome called, "HCI Educators 2008." These slides address challenges experienced by management and non-management experience design practitioners, and you'll find several slides present words of relevance to these challenges from the guest speakers of my course.

The final 33 slides present even more words from the guest speakers -- words of relevance to examples of the ways these managers and executives have framed such challenges in order to address them. Attendees were asked to consider whether such framings would be beneficial in the companies for which they worked.

Enjoy the slides. And my hearty thanks to the managers/executives who "joined me on stage" both during Mx 08 and my course: Jeremy Ashley, Lisa Anderson, Klaus Kaasgaard, Jim Nieters, John Armitage, Christi Zuber, and Jeff Herman.

P.S. The slides AND AUDIO are once again accessible for a related conference session: "Moving UX into a position of corporate influence: Whose advice really works?"

Saturday, October 10, 2009

Organizational and market maturity

Jon Kolko and I have been discussing whether the pace of corporate adoption and acceptance of comprehensive and strategic designer participation in business has been increasing. Look for a portion of that discussion in a piece we'll be calling something like "On designers as catalytic agents..." to appear in interactions cafe, our conclusion to the January+February 2010 issue of interactions magazine.

While we were having that discussion, Charles Kreitzberg kicked off a short discussion in IxDA's discussion list on what you need to say to a CEO to convince him or her of the need for "user experience design" in a company. As if all it takes is the right collection of words...

A response to Charles suggested that the maturity of the market the company is in is likely to impact the effectiveness of such a collection of words. And though Jon and I were talking about designer participation in a broader sense -- i.e., beyond user experience design, we discussed the concept of market maturity as well as corporate maturity, both of which have been addressed in numerous discussions over the years and for which numerous scales have been delineated. Since many may not be familiar with those scales, I thought I'd point to a few here.

Actually, I've pointed to a couple already in this blog. In "Developing user-centered tools for strategic business planning," I pointed to Jess McMullin's 2005 "design maturity continuum." Jess updated it a tad in December of 2008 and published the image of this version that appears nearby (click to enlarge). In his December 2008 post, Jess points out that his design maturity continuum is actually additive -- each higher level represents the addition of greater responsibility and scope for design.

Most other corporate scales I've seen are not additive but instead describe different stages organizations (or parts thereof) pass through. The first scales of this nature that I ever saw came from IBM Consulting in the early- to mid-90s and were used to rate the "usability management maturity" of their clients. Two of IBM's several scales, which appeared in little blue books they'd give to their clients, appear below:

HCI Resources
  1. Little or no investment in qualified people, prototype/simulation tools, equipment, and/or usability evaluation facilities.
  2. Some qualified people are available. There is limited availability of tools and equipment. A usability evaluation facility is available.
  3. Sufficient investment made in qualified people/tools. Budget for user involvement exists.
  4. Resources are applied effectively at proper stages and levels of the development process.
  5. HCI resources are fundamental to the development process and considered essential in planning product costs.
Integrated Design
  1. Various aspects of the design (panels, helps, pubs, installation, etc.) are designed separately or added late in the cycle.
  2. The need for interdisciplinary design teams is recognized, but efforts are uncoordinated.
  3. Plans for integrated design exist and are executed on a selective basis.
  4. Integrated design teams are normally established. Teams are effective in improving overall usability.
  5. All aspects of design evolve equally and in parallel. Designs provide users with solutions to needs.
In a 1994 book chapter, Kate Ehrlich and Janice Rohn delineated four stages of organizational acceptance of user-centered design. They are described in the table below (click to enlarge) which I took from Timo Jokela's 2001 dissertation.


Variations and extensions of this have appeared in a couple of international "standards," including the 1998 "ISO/DIS 13407 Human Centred Design for Interactive Systems":
0. Need unrecognized
1. Need recognized
2. Considered & encouraged
3. Implemented
4. Integrated
5. Institutionalized
Jakob Nielsen's 2006 version of such a scale -- which I've discussed in two earlier blog entries, including "Changing the pace or course of a large ship" -- combines elements found in all the above scales:
Stage 1: Hostility toward usability
Stage 2: Developer-centered usability
Stage 3: Skunkworks usability
Stage 4: Dedicated usability budget
Stage 5: Managed usability
Stage 6: Systematic usability process
Stage 7: Integrated user-centered design
Stage 8: User-driven corporation
(See "Corporate Usability Maturity: Stages 1-4 and Stages 5-8.")

Other such scales -- older and newer -- exist, but they look a lot alike though they tend to not be accompanied by references to any of the others. One of the more recent examples of these is Forrester's five levels of customer experience maturity, shown nearby via an image from a Bruce Temkin July 2009 blog posting.

Have you found any of these types of scales to be of help to you in places at which you have worked? Have you observed any corporate progressions not addressed in the scales described here that you think should be captured in a scale? (I can think of a couple.)

As for market maturity, the example referenced in the IxDA list discussion should suffice -- the four stages delineated by Jared Spool earlier this year (see "Deriving Design Strategy from Market Maturity: Part 1 and Part 2"):
  1. The Technology is Worth the Pain (such as "when a new product category emerges," there are "no competitors or the users have no choice")
  2. Building Out the Features (which usually happens "once a competitor joins you in a category" in order to catch up)
  3. Focus on the Experience (when "customers stop focusing on new features and start asking for simplicity")
  4. Supporting a Commodity (when "the things we're designing are embedded into bigger experiences")
Do such stages of market maturity trump the delineated stages of organizational maturity? Not at all, but they intersect. Consider both when trying to figure out what needs to be done for designers to be more effective and/or to expand their role in a company.

Saturday, February 21, 2009

Want to increase the strategic relevance of User Experience within your company?

Would you like guidance from a panel of industry experts on how to increase the strategic relevance of User Experience within your company?

Please tell us about the situation where you work and how we can help via responding to a short questionnaire.

With your permission, we might discuss it during our panel session at CHI 2009 in Boston (see "Figuring out the 'one thing' that will move UX into a position of strategic relevance" for more info).

Wednesday, February 18, 2009

User (experience) research, design research, usability research, market research, ...

A version of this post was published in UX Magazine.

I rather miss heading up a user research practice and managing and supporting user research personnel. Recently, I nearly accepted a position heading up a highly-respected user research consultancy looking to take things to the next level.

But should such a practice or offering be referred to as "user research" these days. The term is still in use (though the word "experience" often lies in the middle), but the word "user" can imply a much narrower conception of the practice than often intended. As I described in a much earlier blog entry, that was true when I was Director of User Research at Studio Archetype and Sapient; there, the label did not always communicate that we did more than only research of "users" and "use." And a recent conversation I had with an ethnographer who wanted to better understand "user research," something she said she did not do, revealed such preconceptions still exist even within the applied research community. (Use of ethnographic research methods was a big part of the "user research" we did at Studio Archetype and Sapient.)

In short, it is not always clear what label is best to apply to such a practice or consultancy. It is also not always clear what its ideal scope or focus should be or should become.

Lots of people conduct "usability research" these days, but the methods and approaches often used have lagged behind major changes that have occurred in the world of computing. In "Is usability obsolete?" -- an article we will be publishing in the May+June 2009 issue of interactions magazine, Katie Minardo Scott argues:
"Current usability work is a relic of the 1990’s: an artifact of an earlier computer ecosystem, out of step with contemporary computing realities. Usability can no longer keep up with computing: the products are too complex, too pervasive, and too easy to build. And in our absence, users and engineers are beginning to take over the design process. These trends demonstrate the growing gap between usability theory and commercial practice – the “new realities” of computing haven’t been truly embraced by the usability community. The trends are, at a minimum, making traditional usability more difficult, if not irrelevant in the new paradigm."
The label "design research" is used more and more these days. But when Yahoo! abandoned the label "user experience research" for "design research" two or three years ago, previous efforts -- some of which had been mine when I was in a management role at Yahoo! -- to involve user experience research in the early stages of product and service ideation and conception were undercut. As described by Yahoo!'s Klaus Kaasgaard, guest speaker during a user experience management course I taught last spring, the new label made people think that the research was only relevant to the later "design" phase of the product development process.

The narrow interpretations of the label "user research" at Studio Archetype and Sapient prompted us to extend the label to "user research and experience strategy." The narrow interpretations of the label "design research" at Yahoo! led Klaus to change the label back to "user experience research." But a much more significant change was made at Yahoo! more recently: a merger of the user experience research group and the market research group, yielding an organization named, "Customer Insights."

When I was in a management role at Yahoo!, we discovered that market researchers were encountering some of the same obstacles as our user experience researchers -- obstacles to being appropriately involved upstream in the process so to have a more beneficial impact on the company. So, we began to partner with market research in an effort to attain that involvement. During his guest appearance at my "User Experience Managers and Executives Speak" course, Klaus, now VP of Customer Insights at Yahoo!, spoke at length about the similarities and differences among goals and challenges faced by market researchers and user experience researchers, and about how important the merger has been to achieving such a strategic role. In an excellent article in UX magazine (Volume 7, Issue 2, 2008), Robin Beers paints a similar portrait regarding bringing together the market research and user research teams under the umbrella of Customer Experience Research & Design at Wells Fargo.

Is such a "coming together" of these two disciplines appropriate for every company? No, as implied by eBay's decision to split them up after they attempted to bring them together. There are multiple factors to consider when determining what is best for a particular company. But it is important to understand that great benefit can be achieved when the two work together.

In an October 2008 contribution to Jakob Nielsen's Alertbox, Christian Rohrer provides a mapping of a wide range of research methods, some typically thought of as "market research" methods, that can help you to better understand their similarities and differences.

In the November+December 2008 issue of interactions magazine, Liz Sanders provides different insight via her map of "design research" (see the map below right), which you can click to enlarge). Here is how Liz describes the map's organization:
The design research map is defined and described by two intersecting dimensions. One is defined by approach and the other is defined by mind-set. Approaches to design research have come from a research-led perspective (shown at the bottom of the map) and from a design-led perspective (shown at the top of the map). The research-led perspective has the longest history and has been driven by applied psychologists, anthropologists, sociologists and engineers. The design-led perspective, on the other hand, has come into view more recently.

There are two opposing mindsets evident in the practice of design research today. The left side of the map describes a culture characterized by an expert mind-set. Design researchers here are involved with designing FOR people. These design researchers consider themselves to be the experts and they see and refer to people as “subjects”, users”, “consumers”, etc. The right side of the map describes a culture characterized by a participatory mind-set. Design researchers on this side design WITH people. They see the people as the true experts in domains of experience such as living, learning, working, etc. Design researchers who have a participatory mind-set value people as co-creators in the design process. It is difficult for many people to move from the left to the right side of the map (or vice versa) as this shift entails a significant cultural change."
Yet another map of methods was developed during the Netherlands Design Institute's Presence project during the late '90s. The image to the left (click to enlarge) shows the map, which requires a legend in order to identify which method lies where. In this image, the location of "rapid ethnography" is revealed, along with helpful information about the method regarding required expertise, time, staffing, and cost. (This "methods lab" used to be online, but I am now able to find it only in the 1999 book, "PRESENCE: New Media for Older People.")

The ratings in the above image remind me of ratings developed by Luke Hohmann for individual "innovation games" -- a variety of research methods employing collaborative play. (See image at right for his ratings for a game called Speed Boat, and see "What is holding User Experience back or propelling User Experience forward where you work?" for a sense of what that game is about.)

Sunday, December 21, 2008

Beneficial, ubiquitous interactivity

Earlier this month, I dropped by an exhibition of masters student projects from the "Theory and Practice of Tangible User Interfaces" course at UC Berkeley. While waiting for the exhibition to open, Liz Goodman, teaching assistant for the course (that is her to the right side of instructor Kimiko Ryokai in a photo from the San Franciso Chronicle) told me about students' desire in this kind of course to take on projects of great importance, though such projects are often very difficult to figure out. Liz's words reminded me of some of Jon Kolko's words from our September+October 2008 edition of interactions cafe (in interactions magazine) entitled, "On Addressing Wicked Problems...":
"When I used to teach, my students would become enamored with the possibilities of design, and would make grandiose, and unintentionally trivializing statements like 'World hunger? It's just a design problem; we could solve it, if only we had the right model...'"
According to Liz, the challenging project of greatest popularity this year involved monitoring home energy use. However, only one group of students stuck with such a project, creating a demo of an energy monitoring system interface via which residents of an apartment building could see how much energy is being used in different apartments. The visual display showing energy use by apartment -- to be placed in a common space of an apartment building -- did not reveal the identity of any apartment unless an apartment resident approached with a device which enabled the display to identify only his or her own apartment. The student designers wondered whether multiple residents would take the opportunity to approach the interface simultaneously to discuss their relative energy use and what might be done to lower it and that of others.

(Two energy monitors for use inside a home were among products already on the market reviewed by James Pierce and David Roedl in "Changing Energy Use Through Design," the cover story of our July+August 2008 issue of interactions magazine. One of them is the Wattson home energy monitor pictured at left, which, among other things, enables people to be peripherally aware of their energy usage via the color and pulse of its mood light. "The novelty of this ambient energy awareness may stimulate reflection, behavioral change, and conversation.")

The foci of the other UC Berkeley student projects were very different, ranging from digital shadows of personal information that follow people around to cafe table surfaces that remember and remind you of how you make use of them. A mockup of a system via which students can unobtrusively communicate their views of the appropriateness of the pace of a class to its instructor reminded me of a system developed by Eric Paulos via which conference attendees can use their cell phones to communicate their presence or absence in the conference hall, how they are feeling, or their vote on an issue raised by a speaker; for both systems, the individual communications impact a display visible to all attendees, such as the display of attendees pictured at the right.

Eric's system was used during the Interactive City Summit held in San Francisco during 2006, an event that critically examined the rhetoric comprising "a future vision filled with beautiful, delicious urban technologies that will sooth the souls of our communities, generate playful neo-geo-landscapes, and celebrate our omni-connected harmony." The summit immediately preceded "a global festival of art on the edge" a few miles south of San Francisco in San Jose, where just a week and a half ago was unveiled a large piece of art consisting of thousands of LED lights that change color and pulse and pattern in response to codes communicated via the phone of anyone who chooses to call. The artwork, called "Show your Stripes," occupies the surface of the outside of a high-rise building.

Will "Show your Stripes" sooth the souls of the San Jose community?

An interactive light installation in the U.K. perhaps achieved this type of goal and other important goals much more. From "Dancing in the Streets" (interactions, May+June 2008):
"How do you transform a city center at night to enhance the experience of residents and visitors and to combat the public's fears over safety and security at night?

This challenge was set by York City Council’s ‘Renaissance Project: Illuminating York’, and we took them up on it. We made it our goal to get pedestirans to engage with our interactive light installation, and to get them dancing without even realizing it.

People out shopping or on their way to restaurants and nightclubs found themselves followed by ghostly footprints, chased by brightly-colored butterflies, playing football with balls of light, or linked together by a ‘cat’s cradle’ of colored lines. As they moved within the light projections, participants found that they were literally dancing in the streets!"
A video of this dancing is available on the interactions website. And you can read more and watch a video about some of the UC Berkeley student projects in an online San Francisco Chronicle story entitled, "Tangible fun at UC Berkeley's virtual projects."

(Note that according to Liz, one of guest speakers during the UC Berkeley course was her husband, Mike Kuniavsky, whose presentation in class was based on an article of his entitled, "User Experience Design for Ubiquitous Computing" from the November+December 2008 issue of -- you guessed it -- interactions magazine.)

Thursday, December 11, 2008

Applying "design thinking" to, um, design

"The Omnibox is really great; thanks for coming up with that" said my friend Pam from Tuesday evening's BayCHI audience. "But what's up with the tabs? I've watched numerous people be confused by and just ignore them. Do people really use them?"

Pam, unknowingly sitting immediately behind the Firefox design team (Firefox also uses the tabs metaphor), was asking this of Google's Glen Murphy, who had just described the process of designing Google Chrome -- Google's new browser -- to a near capacity audience at PARC. Much of his description had been focused on the meticulous process of designing Chrome's tabs. But why tabs? Glen had said that the team had settled on use of the tab metaphor very quickly, emphasizing that it just seemed right to everybody. What other options were explored and considered?

Glen had repeatedly stressed the value of user research during the design process, saying that he couldn't overstate the importance of the many "cognitive walkthroughs, lab usability tests, and longitudinal studies" that were conducted. But did the team generate and seriously explore and test many concepts other than tabs?

Doing so is often an important part of a good design process, certainly one of relevance to the design of Google Chrome. Indeed, it reflects an application of "design thinking," something I've written about in previous posts (e.g., "Crummy innovation") and in interactions magazine (e.g., "On Addressing Wicked Problems..."). Business professionals are hearing lots these days about the importance of applying design thinking to business decision making -- a process typically dominated by analytical thinking.

But another good time to apply design thinking is, um, during product design.

Note that I'm certainly NOT claiming that it wasn't applied during the design of Google Chrome. For all I know, lots of concepts other than tabs were generated and explored. I should have asked. But I do know that the generation and exploration of multiple design concepts happens much too little in many engineering-centric companies.

I did ask a question of Glen. However, my question focused on the role product management played during this project. Glen had stated that the Chrome team was comprised of people from engineering, user experience, and product management (though he was not permitted to reveal how many from each). Glen had also stressed the importance of the close relationship that was maintained among engineers, designers, and users throughout the project (see his slide to the right); for example, the engineers observed every user study conducted by user research personnel -- something which is, indeed, probably still far from the norm. I wanted to know what product management was doing during the project, since it didn't appear to be represented in that important slide (though I would tend to want to see it there).

Glen had also emphasized the importance of the interchangeability of roles at Google, saying this was his first project in the role of designer at Google, having been in the role of engineer on previous projects. According to Glen, this interchangeability facilitated the important closeness of the relationship between designers and engineers.

But one can be in the role of designer without extensively applying "design thinking," which, again, I say WITHOUT implying that was true in this case. But when it is true or is likely to be true, there are things that can be done to increase its application.

At the recent CanUX workshop (which I didn't attend), Jerome Ryckborst presented an approach he developed for use in the company at which he works. Here is what Jerome said about this on the Vancouver User Experience discussion list in September:
"Over a year ago, our CTO decided we would not hire a designer to support our 100 software developers, and declared that the UI was ultimately the responsibility of developers. The problem I saw with this: developers untrained in design believe they're designing their software, but they actually aren't doing things that designers would recognise as design activities. I took this as a challenge because I didn't want Usability to be the mop-and-bucket brigade at the end of the development process. I set out to improve the outcomes of our developers' design efforts. ... With the help of my colleagues and the ideas of various experts, we assembled, tested, and refined an ideation-design process specifically for software developers.

You, too, can learn and use this process."
Jerome's CanUX 2008 slides, which describe his process quite nicely, are presently accessible on the CanUX 2008 homepage. Labeled "Five-Sketches-or-Else," the process consists of a series of activities (some of which are iterated) which facilitate the generation and exploration of design concepts, preventing settling on a single concept much too quickly.

Also at CanUX 2008, Brandon Shauer talked about the sketchboarding technique I referenced recently in "Prototyping for tiny fingers." It, too, facilitates the generation and exploration of design concepts.

And there are other approaches that can be taken, some of which I've described in previous blog entries and where the best choice of an approach can depend on a variety of factors. But common to these approaches is facilitation of the approaches by "UX" personnel. As I've argued often (see, for example, "Soft skills"), UX personnel need to be able to play the role of facilitator of a good research and design process involving non-UX personnel as much as if not more so than doing the research and/or design themselves.

Is "design thinking" being applied during the product (or service) design process where you work? If you need some help with this, give me a holler.

Wednesday, November 19, 2008

Prototyping for tiny fingers

Knowing I will never again use any of the papers, books, magazines, etc. that sit in several boxes I have stored in the basement, I decided that the time had come to get rid of them all.

However, I made the mistake of looking inside the boxes.

Ah, a couple dozen unused Group Embedded Figures Tests. Ooh -- those are cool. Hmm... you never know when I'll need to find out the relative field dependence-independence of a group of guests. It might provide critical guidance regarding how to set the dinner table and seat people around it.

Just before dinner, those guests -- or just the field dependent among them -- might want to leaf through the dozens of old Gourmet magazines I have, if I were to dust them all off a bit. The field independent guests might prefer that Theory of Matrices textbook from my undergraduate days, or perhaps Introduction to Computer Organization and Data Structures: PDP-11 Edition.

During dinner, I might want to do a reading from the article I co-authored that appeared in Journal of Educational Measurement many years ago. All those reprints in the basement, which I'd be happy to sign, could make unforgettable thank-you gifts.

That proposal for additional design and evaluation work for LAWS (a Legal Agreement Writing System) that I worked on for Pacific Bell during the 80s might be just what I need to take a look at again someday. And the code for that PLATO-based "confidence testing" system that I redesigned even earlier during my career... -- well, I'm sure I would think of a good use for that right after I discarded it.

But what is this? Ugh -- a box of old issues of Communications of the ACM. Finally something I should be able to discard; nothing could be in them that I'd ever be interested in reading again (or, more likely, for the first time). But wait -- post-its protrude from the top of a few of them. Might there actually be something of remaining value in some of them, such as in this issue dated April 1994? Sure enough, the answer: "yes" (though a far more genuine "yes" than applicable to any of the items mentioned above).

The marked article: "Prototyping for Tiny Fingers," an article about the value of low-fidelity (paper) prototypes, and how to build and test them. Though published in 1994, this is still an excellent article, and is among the articles on paper prototyping that I provided to user experience personnel who worked for me at Yahoo! as recently as 4 years ago. They adopted and adapted the approach to great benefit, generating good, new designs much more quickly (though much more intensely) and resolving old design problems that had long haunted them.

The article was written by my friend Marc Rettig, who was perhaps the first Chief Experience Officer in the world (though years after he wrote this article). Yesterday, I decided to check in with Marc about the article. Here is what he had to say:
"It has been really surprising to see how long that piece has remained useful to people. I've often thought of it as a sort of indicator of just how much people want short, clear, egoless descriptions of ways of working that have power to make things better.

What would I change about it today? Hmmm.... Remember that it was written before the web. About '93 or so, I think. At the time, the new news in that column wasn't just using paper to make prototypes, it was the idea of prototyping at all. Of course people had been making prototypes since forever, but in the software world, it wasn't *really* happening very often. When it did, the prototype itself was usually an expensive piece of code.

So the industry was having a conversation about a shift from waterfall processes, from 'first specify, then build,' to a recognition that iteration is *necessary* for discovering the specifications. That you can NOT write complete specs without using attempts-to-build as a way to better understand both the problem and the solution, and the faster you do this the better. Damn cheeky claims back then.

I don't think that conversation is over, by the way. I think design and construction are still typically too separated. And our tools make it difficult to continue design into the construction effort. Once you see and experience the software or product, once you see it in use, you can usually see how to improve it. People are slapping themselves on the forehead in usability observation rooms around the world. 'Why didn't we see that before?!'

When you make paper prototypes, design and construction are mingled in a lovely useful way. And it's an activity that easily affords collaboration. Still the two strong points in its favor, IMHO."
I never understood Marc's title for this article, so I asked him to explain it:
"Why 'tiny fingers?' You know, I thought a lot more people would understand that reference. Maybe it says something about my childhood. To me, 'tiny fingers' is a cultural reference to books about "adult" topics made accessible for children. And if "tiny fingers" is in the title, chances are you're going to be doing some kind of activity. You're going to get out the scissors and paste. I thought I was writing a title that packaged two things that usually don't go together: a 'serious' topic like prototyping, and an invitation to playful craft as a way of working. Plus I can't bring myself to make titles (or even articles) that take themselves too seriously. There's way too much over-inflation in our literature, and remember this was CACM. I wish I could have called it, 'None of us really know what we are doing.'

I asked amazon and google about this, and see it's still happening a little:
  • Easy puzzles for tiny fingers
  • Kitten on the keys: Descriptive solo for tiny fingers (!)
  • Dude, you have tiny fingers
Okay, I made up that last one."
But, surely no one is doing much paper prototyping any longer, right? Not according to Nathan Moody and Darren David of Stimulant who design cutting edge, multi-touch natural user interfaces. At their IxDA-SF presentation last month ("Multi-Everything: Multi-touch and the NUI Paradigm"), both claimed they paper prototype extensively and have never found anyone who can iterate faster digitally.

Marc "tipped his hat" to Bill Buxton, who wrote the fabulous and recently-published book, "Sketching User Experiences: getting the design right and the right design." However, Bill distinguishes between sketches and prototypes, arguing that they serve different purposes and are used most at different stages of the design process -- the former for ideation, the latter for increasing usability. Regardless, paper is among the tools he advocates for both.

I encourage you to also take a look at Mark Baskinger's excellent cover story in the March+April 2008 issue of interactions magazine. The title: "Pencils Before Pixels: A Primer in Hand-Generated Sketching." You can download Mark's worksheets from the interactions magazine website.

And other lo-fi techniques have received recent attention, including Brandon Shauer's sketchboards for exploring and evaluating interaction concepts quickly.

Over the years, lo-fi prototyping has had more than its share of detractors. But, clearly, it lives on -- as it should.

However, it looks like it is going to be very hard to get rid of any of those boxes in my basement.

___

Years ago, Marc Rettig served as Features Editor for interactions magazine, though he tells me the opportunity he was given to play that role was less than minimal. Jon Kolko and I are giving him another opportunity, as we have recently added Marc and others to our team of contributing editors. More info on those additions and other changes will appear in interactions magazine and on the interactions website.

Tuesday, November 04, 2008

Crummy innovation

What is innovation that doesn't happen? "Crummy innovation," according to Roger Martin (at right in the photo), Dean of the Rotman School of Management at the University of Toronto.

Roger said this last evening during an on-stage conversation with Cheskin's Darrel Rhea (at left in the photo, sitting to Roger's right) hosted by the Commonwealth Club in San Francisco. Darrel had just said that the greatest innovations he had worked on during his career were never implemented, because the organizations that needed to implement them were too resistant to change. However, according to Roger, great innovations happen, because if they don't, you will never know whether they would have been great. "No new idea can be proven in advance," argued Roger. "Only the passage of time will prove whether an idea -- an innovation -- is great."

Hence, Roger argues that companies need to ban the use of two words when it comes to innovation: "prove it." If you can prove something in advance, it is not an innovation.

Additionally, Roger argues that a critical part of the innovation process that is often overlooked is the decision making process that determines whether an innovation will be implemented. It, too, must be designed.

Both pose great challenges.

In our most recent issue -- the November+December 2008 issue -- of interactions magazine, Nathan Shedroff (one of Darrel's co-authors of the book, Making Meaning: How Successful Businesses Deliver Meaningful Customer Experiences) describes several reasons why most organizations cannot innovate effectively (see "Design: A Better Path to Innovation"). Roger Martin has addressed this, also. For example, in my blog entry, "Preconceived notions," I wrote about Roger's presentation at the CONNECTING 07 World Design Congress:
"Roger Martin, whom I referenced extensively in 'Designing in hostile territory,' explained how the common notion that risk needs to be minimized for a business to be successful is a hindrance to innovation and development of competitive advantage."
Last evening, Roger touched on the importance of applying "design thinking" -- involving the use of abductive logic -- to the business decision making process, which is typically analytical involving the application of only deductive and inductive logic. And according to Roger, helping designers and MBAs understand the differences in the logic they have been taught to apply, and the value and role of all three, can increase the chances that innovation will not end up being "crummy."

There is much more that can be done, as I've described in past blog entries and addressed in courses, presentations, and consulting gigs. What needs to be done where you work so that your innovations don't end up being "crummy"? Do you need some help figuring this out?

And how should you approach the innovation process to increase the chances that it is not best for an innovation to end up being "crummy"? (The title of Nathan's article should suggest a good answer.)

___

Innovation receives a lot of attention in the November+December 2008 issue of interactions magazine. Nathan's excellent article appears in a section entitled, "Reflections on Innovation," which includes Steve Portigal's "Some Different Approaches to Making Stuff," Elizabeth Churchill's "Of Candied Herbs and Happy Babies: Seeking and Searching on Your Own Terms," Bill Tomlinson's "A Call for Pro-Environmental Conspicuous Consumption in the Online World," and Richard Pew's "An Exciting Interface Foray into Early Digital Music: The Kurzweil 250." Other articles also address innovation, particularly, and not surprisingly, those in a section entitled, "Emerging Approaches to Research and Design Practice." For example, Sus Lundgren describes tools via which to design innovative games in "Designing Games: Why and How," and Liz Sanders' "An Evolving Map of Design Practice and Design Research" makes reference to the most recent additions to that map.

We've addressed innovation in each of our previous issues of interactions magazine (the preceding 5 issues of 2008), and we'll no doubt do so in each upcoming issue. Indeed, look for an article from Roger Martin in an upcoming issue.

Some of the blog entries in which I address innovation can be accessed here.

Friday, October 31, 2008

On facilitating a jury's deliberations, and more

As I've described in past blog posts, I love to facilitate group sessions of all sorts of types. Earlier this week, I found myself in the unusual position of facilitating a very important group session in a building designed by none other than Frank Lloyd Wright and in the role of jury foreman.

I've served on a jury before, but never as a jury foreman. And I hesitated a little bit when my fellow jurors quickly asked me to be their foreman (or presiding juror, as they are sometimes called here in the U.S.), because the task before us -- placing monetary value on the plaintiff's past and future medical expenses, past and future loss of income, and past and future "pain and suffering" was going to be challenging, even more challenging than we all knew at the time of making this initial decision. But it was because it was going to be challenging, and because I knew of the importance of a good facilitator to this process, that I agreed to take on the role. And I'm glad I did so. Our work was intense, with lots of differing viewpoints among the jurors, but we finished our job in a single day, much to the surprise of us all.

I learned a lot during this trial, particularly about the spine and spinal surgery and various approaches to pain management. My university human anatomy and physiology instructors of years ago were pitiful in comparison to the lawyers and surgeons and other medical experts we heard from over a two week period.

But there were things that happened during the trial that were very dumb. Perhaps I should say that there were things that should have happened during the trial that didn't, and possibly never would in this type of judicial system.

One of the problems was that we, the jurors, were not permitted to ask questions of the witnesses. Of course, we didn't expect to be able to ask questions of the witnesses. But most of us wanted to be able to do so, as there were questions that needed to be asked that weren't, and questions that were answered in ways that were less than clear. Could a means be devised via which jurors could ask questions in a way that wouldn't create a big mess? I think so, but I won't dwell on this issue, since it is minor compared to others.

A bigger problem was that none of the reports prepared by the medical experts, the economists, and others documenting the process and results of medical exams, extensive and rather complicated present-day-value calculations, and more were made available to us during our deliberations. Those reports contained critical information on which we should have been basing some of our decisions, but our access to them was denied.

We watched as all of the reports were tagged as official exhibits during the trial. This led all of us to believe that we would have full access to these reports during our deliberations. However, as we learned at the start of those deliberations, none of the reports had been submitted as official evidence, and only official evidence was available to us in the jury room.

Now that would have been OK -- well, somewhat OK -- had we known this during the trial. Why did they not tell us this? We all would then have been much more diligent about writing down the contents of those reports, much of which had been fully displayed to us on a large screen or on large boards during the testimony of those who prepared the reports (not that we were given enough time to write down everything of importance, but...).

Some of the contents of those reports -- contents that were read aloud by witnesses -- were indirectly available to us in the jury room. Access to those contents required asking the judge to have a court reporter join us to read aloud from the court transcript as we listened in silence. But we were told that our requests had to be very precise; if a requested portion wasn't what we were looking for, we'd need to submit further requests to the judge, as we were not to be permitted to interact with the court reporter in order to help him or her find the information we saught. Plus, we observed witnesses misstating report contents on some occasions; would we remember when this happened and have access to the accurate information via a juror's notes?

An even bigger problem lied in the inability of certain witnesses to interact about the case either prior to or during the trial. For example, the surgeon testifying for the defense was not permitted to interact with the surgeons testifying for the plaintiff. In my opinion, they were all highly competent and well-intentioned doctors. Interaction among them would have enabled them to discuss some very critical uncertainties that could have clarified the picture considerably; indeed, I would have loved to have facilitated that discussion! Instead, it was argued that we should make our judgments about what kinds and numbers of surgery, pain injections, therapy sessions, and more would be needed by the plaintiff over the course of her life by deciding which doctor's credentials appeared to be superior, or how likely it would be that a doctor brought into the process late in the game could really know enough or be telling the truth, or some other equally poor basis.

And then it was all handed over to be decided by a jury of twelve -- all equally well-intentioned, but probably none of whom really wanted to be there, none of whom was adequately paid for being there (only $15/day plus mileage, compared to, for example, the $9000 one witness was paid for half a day), and none of whom had enough of the expertise that really should have been applied to making these decisions. I'm very proud of what the jury did, the process we used, etc. But might there be a better way?

What might that better way involve? Oh, how about working together more, avoiding hand-offs, enabling decision makers to participate (effectively) in the process, providing access to needed data and rationale, etc. -- all things I would recommend and have recommended to be a part of most companies' "user experience" practice, management, and organizational strategy. Are they no less applicable in the U.S. judicial system?

A major theme reflected in contents of our upcoming January+February 2009 issue of interactions magazine is the need for companies to change their ways. As we grow very close to electing a president of the United States seemingly intent on making fundamental changes to the ways things are done in Washington, D.C., perhaps it is appropriate to consider extending that intent outward to the ways things are done in our courtrooms, by insurance companies, by legal teams, and by those whose lives are changed forever negatively, but unintentionally, by others.

___

A couple of additional notes...

I was intrigued by differences between the two lawyers' use of "technology" during the trial. The defendant's lawyer kept it simple, sticking only with writing on flipchart paper and showing us tables from reports (yes, those reports we were not later permitted to see) printed onto large sheets of foamcore (though still often printed too small to be easily readable by the jury). The plaintiff's lawyer, on the other hand, projected computer displays onto a large screen. He zoomed, and he animated, usually quite effectively (though sometimes he could not get the zoom function to work as he wanted). For awhile, he even got away with displaying claims during witness testimony that were not being made by the witness (I was surprised at how long it took for the defendant's attorney to voice an objection, which the judge quickly sustained).

I was also struck by the extent to which practice and "academic" research appear to be intertwined in the medical profession, at least at the level of those who testified during the trial. Sadly, in the world of "user experience" and HCI, we have a situation where many practitioners belittle "academic" research and researchers, and many "academic" researchers belittle practice and practitioners.

Lastly, on Facebook, Matt Jones said that people would be put in the gaol in the U.K. for blogging about their experiences on a jury. Here, jurors are permitted to say as much or as little as they want to anyone about this stuff. Indeed, the lawyers were anxious to take advantage of this immediately after we were all dismissed. They even asked the judge to tell us they wanted to speak with us all, and they stood out in the hallway via which we would exit to intercept us before we could depart. I told them to look for my blog posting.

Tuesday, September 23, 2008

To what extent does where we come from impact where we (can) go?

This past spring, Jim Leftwich, Chief Experience Officer at SeeqPod, was a guest speaker at my "User Experience Managers and Executives Speak" course, where he described the evolution of his career, beginning with his childhood encounter with a tractor throttle (see photo). What was striking was the extent to which Jim's approach and way of working was influenced by that encounter and has continued to reflect his experiences growing up on an Iowa farm.

According to Jim, his Dad was a businessman, a veternarian, a carpenter, an engineer, ... -- a little bit of everything. Well, Jim's approach has usually been one of doing most everything himself, and in college, he studied a little bit of everything, including engineering, economics, business, fine arts, photography, psychology, graphics, typology, and industrial design, all of which he continues to apply in his work. Jim told of how his Dad would say, "Let me know what you need, and I'll tell you how to get along without it," a philosophy -- an approach -- reflected in Jim's work throughout his careeer.

To what extent does our work, our approach, our thinking, ... continue to reflect our early experiences?

During the recent IDSA 2008 conference, a surprising number of speakers began their presentations by describing their early experiences and how those early experiences are reflected in their thinking and work today.

During BayCHI's program two weeks ago, Bill Verplank sketched numerous metaphors, including his definition of "interaction design," a term Bill is credited for having co-coined. Bill has made and presented this sketch before; indeed, you can watch him do so in a video that is available on the webpage corresponding to an interview of Bill that appeared in the book, "Designing Interactions." What was new this time was Bill's statement that he only recently realized his definition of "interaction design" reflected his early days as a controls engineer. And though his definition includes attending to how users feel, Bill stated that the focus of his work has never really moved on to "user experience," which includes an emotional component that was never the focus of his early work.

In the delightful book "Eat Pray Love," Elizabeth Gilbert writes:
"When you are walking down the road in Bali and you pass a stranger, the very first question he or she will ask you is, "Where are you going?" The second question is, "Where are you coming from?" To a Westerner, this can seem like a rather invasive inquiry from a perfect stranger, but they're just trying to get an orientation on you, trying to insert you into the grid for the purposes of security and comfort. If you tell them that you don't know where you're going, or that you're just wandering about randomly, you might instigate a bit of distress in the heart of your new Balinese friend. It's far better to pick some kind of specific direction -- anywhere -- just so everybody feels better."
In a more abstract sense than intended by Elizabeth, is the first question even necessary once you learn the answer to the second? The above stories about Jim, Bill, and several IDSA conference speakers suggest that the answer might be, "no." And it seems to me that most people think the answer is, "no." That is certainly the case of the historical analyst interviewed on National Public Radio recently who argued that the early experiences of the two major U.S. presidential candidates reveal exactly what kind of presidents they would be.

Why am I thinking and writing about this? Well, it was my birthday recently, and as I told a couple of friends, the occurrence of my birthday had led me to become excessively introspective. "Watch out," they wisely responded!

But I think I've long been a bit disturbed by the extent to which people get defined by "where they are coming from" -- that once people reveal that kind of information (whether it is about the geographic area in which they grew up or the profession or professional association in which they "grew up" or the "era" in which they grew up or...), others' preconceived notions of what it means about who they are and "where they are going" or where they can go kick in. Such "preconceived notions," as I described in a blog entry of that title, are very hard to change.

Yet, many of those preconceived notions may have been shaped by early experiences, perhaps explaining their resistance to change.

The relevance of all of this to this blog? Well, this blog is largely about achieving change, as I am certainly in the "change business," helping individuals and organizations change their work practice, management, and organizational strategy via my consulting, teaching, and co-chief-editorship of interactions magazine.

And many have argued that anyone working in this field is or should be in the same change business. For example, in an earlier blog entry about this, I quoted Secil Watson:
"Think of yourselves as change agents. If you like that role, then look at of yourselves as the people who can really change the culture of the organization you are a part of."
Mark Hurst has been arguing for years that changing the organization "is the most important part of user experience work." But he also argues that changing the organization is "the most difficult" part of user experience work.

Indeed, as you probably know, it is usually VERY difficult, which is why there are people like me available to provide guidance.

The huge response to "Eat Pray Love" reveals that Elizabeth Gilbert is in the "change business" as well. Though her "change business" is rather different from mine and yours, perhaps the end of the above quote from her book offers partial guidance regarding how to respond if you haven't yet formulated a good change strategy. In short, "pick some kind of specific direction -- anywhere -- just so everybody feels better."

But then get to work on developing a good change strategy.

Saturday, August 30, 2008

On innovation, appropriateness, intervention design, logic, research, the experience ecosystem, marketing, sustainability, wicked problems, and more

Jon Kolko and I -- Co-Editors-in-Chief of interactions magazine -- end each issue of the magazine with a "cafe" conversation on topics of relevance to the magazine's content. Jon always kicks off these conversations in a provocative but insightful way.

Here are the openings of, and pointers to, our first five "interactions cafe"s:

On Innovation, Appropriateness, Intervention Design, ... (January+February 2008)

Jon: I’m concerned with the overabundance of the word “innovation” in our professional discipline. At CONNECTING ‘07, the theme was neither subtle nor convincing: nearly every speaker talked about innovation (some better than others), yet no one over the course of four days managed to define the term. Apparently, if a business isn’t focused entirely on innovation right now, their business is completely ruined and they won’t be around in a hundred years.

But I’ve recently done a mental inventory of the products, software and services that I use and that I cherish. The items I hold dear to my heart are either one-offs (craft oriented and thus not in the realm of the innovation discussion) or refined and subtle: they are appropriate more than they are innovative. As we see a trend in society towards “slow” design [clearly juxtaposed with fast food culture], the bloat of features and functionality that seem to go hand in hand with being new and different seem dramatically misplaced.

On top of this, the majority of the companies that are clamoring for increased innovation haven’t proven that they can solve the older problem of quality: I don’t need more ‘new’ and ‘innovative’ features in Windows; I just need the bloody thing to work without crashing.

You do a lot of coaching and teaching companies to be more innovative. Why don’t you get them to be more appropriate, or refined, or polished, instead?

Richard: Actually, my coaching and teaching focus on moving “user experience” into a position of greater corporate attention and influence — on helping to enable companies to do the kinds of things Secil Watson describes in her article in our first issue of interactions. Roger Martin referred to this as “intervention design” in his conference plenary on “Design Thinking: The Next Competitive Advantage,” and I’m sure we’ll offer (more) articles on this in future issues.

Sometimes such interventions mean helping companies organize and do things in such a way that more appropriate, refined, or polished user experiences will result. But they do sometimes mean helping companies do things so that they can be more innovative. However, innovation can be an important part of making user experiences more appropriate, refined, or polished. I think Hugh Dubberly’s model of innovation in our first issue captures that.

Hugh’s model also addresses the insight required of all of this, stating that “immersion within the context is almost always essential” to achieve such insight. I often coach and advise companies on how to achieve such immersion effectively, and the article by Stefana Broadbent and Valerie Bauwens contributes guidance as well. That article also reveals ethnographic research findings that advise against certain types of innovation since they are likely to yield user experiences that are inappropriate.

Clearly, ethnographic research...

(continue reading "On Innovation, Appropriateness, Intervention Design, ...")

On Logic, Research, Design Synthesis, ... (March+April 2008)

Jon: A core theme of this issue of interactions has been the relationship between Interaction Design and education: how to teach it, how to learn it, and how to live it. As a Designer, I’m obviously biased towards Design Education, as I see Design as a core tenant of life (consider it akin to reading and writing: design has often been characterized as “dreaming” or “problem solving”, both of which I consider underpinnings of human life). At the same time, I see the value in logic and pragmatism, and I’m often challenged professionally to “prove it” or “back it up with a sound, logical argument”. Do you think future generations of professionals in the interaction world will have to walk the line between Art (emotion) and Science (logic), or will Design with a capital D finally have its time to shine?

Richard: Can design truly shine without addressing both emotion and logic? Was a need to walk the line between art and science responsible for all the messes described in the first section of this issue (entitled "The Mess We've Gotten Ourselves Into"), or is the culprit better described as an improper balance?

Roger Martin, whom we referenced in our first “interactions cafe” discussion, has written about how the predominant thinking in business — analytical thinking — is hostile to design, and how that needs to change. But he doesn’t argue that analytical thinking has no place.

Perhaps you can’t “prove it.” Perhaps you shouldn’t be expected to “prove it.” But is it wrong to expect you to develop and use and provide rationale that can be subjected to some form of critique throughout and after the design process?

Is Tracy Fullerton wrong in teaching and emphasizing the importance of playtesting in her Interactive Entertainment program at the USC School of Cinematic Arts? Was Mark Baskinger wrong to observe the elderly and kids in his inclusive design projects? Doesn’t such research contribute to a kind of “logical argument” that is essential?

Jon: I wonder if the word “rationale” should even be part of the designer’s language. ...

(continue reading "On Logic, Research, Design Synthesis, ...")

On the Experience Ecosystem, Drama, Choreography, ... (May+June 2008)

Jon: This issue clearly demonstrates a shift in thinking for practicing designers. Creators of physical, digital, and systematic products are moving away from the development of single, static things and are now considering the larger ecosystem of the experience in which these things are used. This experience lifecycle has even touched on children’s toys, as described by Allison Druin; it is no longer enough to offer products with a narrow focus. Instead, practitioners must “design” the physical artifact, the digital artifact, the system of integration, the unboxing experience and must even consider the urban fabric and culture in which the design is used.

It seems like few, if any, large corporations are organized in a way that supports this tremendous undertaking; the actual experience offering from these corporations is so watered down by the time it makes it to market that all indications of cohesion are lost.

Richard: Years ago I had the good fortune of working at Studio Archetype and Viant, where the focus was on helping clients figure out what to do as much as designing how to do something. Indeed, the Studio’s founder, Clement Mok, wrote a book entitled "Designing Business" back then, and Viant’s primary focus was on developing digital business strategy.

So, the approach to user research that I developed for both companies somewhat naturally looked at the larger ecosystem of the user experience, since that increased our contribution to figuring out what a business should do and facilitated designers’ contribution to the same.

Companies that involve user experience research and design in their business in such ways have a better chance of effectively considering and addressing that bigger picture. Secil Watson wrote of taking such an approach at Wells Fargo in our January+February 2008 issue. But it is hard to pull that off.

You attended Interaction 08 in...

(continue reading "On the Experience Ecosystem, Drama, Choreography, ...")

On Marketing, Sustainability, Pessimism, ... (July+August 2008)

Jon: I’m tired of advertising, and to be completely frank, I’m tired of marketing. The entire infrastructure for corporate marketing has arisen from a desire to convince the public that they need more, faster, better, now. We keep talking about sustainability, but we - and I include myself in this, as I work at a consultancy that makes *things* - keep producing more stuff, and keep thinking about ways to sell versions two and three and four of the stuff to people that don’t really need it in the first place.

What are we doing?

Richard: Change of such great magnitude doesn’t happen overnight. Some of the marketing you are tired of — that which describes what companies are doing to address sustainability — might suggest otherwise, but…

Of course, making “things” won’t go away, but the nature of those things can promote sustainability, as reflected in our cover story. And the way the consultancy you work at responds to clients who want you to make things for them can increase sustainability, as reflected in the Designers Accord described in our May+June issue; indeed, I think you can be proud that that accord was born where you work — frog design.

The Designers Accord is a very important effort, and I...

(continue reading "On Marketing, Sustainability, Pessimism, ...")

On Addressing Wicked Problems... (September+October 2008)

Jon: A lot of the discourse that surrounds interaction design speaks to the large, cultural change it can afford. When I used to teach, my students would become enamored with the possibilities of design, and would make grandiose, and unintentionally trivializing statements like "World hunger? It's just a design problem; we could solve it, if only we had the right model..." This issue of interactions presents a number of these types of problems: homelessness, sustainability, and memory impairment. Do you feel that we actually can solve these wicked, cultural problems through design?

Richard: Design can play an important role. As we suggest in our introduction to this issue design is changing in ways that should increase the role it can play. And increased adoption of "design thinking" by others -- as we've referenced in previous interactions cafes -- will help as well.

But let's take care to not treat design as if it were a religion or a savior. Agile development methodologies, with more than a few fanatical followers, are, in some cases, justifiably decried as little more than an excuse to not document code. The OLPC hasn't had, and is unlikely to have, much of an impact on children's education in developing nations.

Jon: The two examples you give share an interesting commonality. ...

(continue reading "On Addressing Wicked Problems...")

Coming in the November+December 2008 issue: On Mobile Communication, Cultural Norms, ...