Category Archive: graphpaper.com

In Defense of PowerPointism

April 29th, 2007

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Will Wright’s cryptic, clip-art crazy PowerPoint slides make sense when he’s right there talking about them.

Microsoft’s PowerPoint is frequently blamed for the poor quality of many presentations and for a supposedly- disastrous state of communication in both the private and the public spheres. Public speakers are lambasted for their wooden stage presence, crippled by their over-reliance on projected slide shows and meaningless bullet-points. The slides themselves, too, are often rife with design crimes ranging from clip-art diarrhea to impenetrable verbosity.

And because of the ubiquity of the tool and the technique, because public speakers from Al Gore to members of Australia’s Parliament use slideshows to support their speeches, the software itself has become the de facto target of criticism. I don’t think this is quite fair.

[For the purpose of this argument, Keynote on the Mac is basically the same animal as PowerPoint, so with apologies to both Microsoft and Apple I’ll just use the term “PowerPoint” to mean any slideshow method or tool.] MORE…

Experience or Don’t Experience. There is no Try.

April 8th, 2007

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The word “experience” comes from the Latin word “experÄ«rÄ«”, or to try.

It’s strange, then, that in modern English the two words, “experience” and “try”, have such different meanings: when we try something we tend to take a sip or a nibble, get our toes wet, or go for a test drive around the block. But when we experience something, we allow it to overtake and engulf us, we admit it fully into our spaces, our lives. A deeper and more lasting understanding is achieved, something fundamentally different than what we get from merely trying something.

The purpose of user experience design, or UXD, is to understand that user behavior can be seen as part of a holistic experiential model instead of as a shallow, temporary hit-and-run encounter. In the domain of user experience, then, we must not mistake trying something for experiencing it.

The most revolutionary products, the things you “never knew you wanted but can’t live without”, only catch on when people are able to move quickly from trying to experiencing.

Some of the ramifications of this distinction include:

Product Reviewing: When testing a new product to see what it’s all about, consider adopting it thoroughly instead of just tinkering around with it. As you explore the product, ask yourself if you are using it like someone who actually bought it with the intention of using it, or if you are merely sweeping through it for a quick overview. At a wine tasting you aren’t supposed to swallow the stuff, but sometimes if you want to understand what it’s really all about you simply have to drink the Kool Aid.

Restaurant reviewers will visit the same establishment five or six times, on different days of the week and at different times of the day. When exploring a new product, consider taking the same approach — how differently would you use it on a busy day versus a slow day, at home versus at work, in a good mood or in a bad mood?

Trying new Social Apps: This is particularly important with social apps, where this phenomenon is exponentially true. You cannot experience a social app unless you are part of a group of people who are all experiencing it together. You cannot, for example, understand what Twitter really is until 20+ people (people who you actually care about) are connected to you as friends and all 20+ of you are using Twitter in your own idiosyncratic ways. A social networking app does not even really exist until there are groups of users trying it out.

Usability Testing: The purpose of usability testing is to simulate the planned user experience as closely as possible. By being conscious of the fact that some experiences involve long commitments and/or large numbers of participants, a usability test may need to be structured very differently than they are today. A prototype for testing may need to be pre-populated with legacy cruft and clutter, as if the test subject had been using it for years. And again, for social apps, this is even more pronounced: Public Betas are, in fact, the best way we currently have to test social apps, but maybe someone will devise a way of simulating the cruft and clutter by simulating real people in a network where few real people actually exist.

Product (or Website!) Design: Allow your users to rapidly transition from trying your product to experiencing it, by making the initial stages of the interaction with the product as seductive and addictive as possible. Apple’s “out of the box” seduction is the gold standard for this, but the tradition goes back to the simpler arts: James Bond movies always open with a high-voltage action sequence. And the most basic rule of journalism is to catch the reader’s attention in the first paragraph.

In Dont Make Me Think, Steve Krug posits that the first question a web site should answer for a user is “what is this?” It’s surprising how many sites fail utterly at this. If your web page cannot tell a user immediately what the hell it is, why it’s useful, etc., you’re already putting up a major obstacle between trying and experiencing. Krug’s book, in fact, can easily be seen as a concise manual on how to smooth the path from try to experience.

Interaction Design Style (My IA Summit 2007 Presentation)

April 1st, 2007

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It’s been a little less than a week since my IA Summit presentation. To my great surprise, it went really well. I mean really well. In the next day or so I will be posting a summary of my experiences preparing and discussing my topic, which was, in a word, style.

Many people came to me after my presentation asking me not only to post the slides themselves, but also to post the reading list since I did discuss a lot of books and sites that deeply influenced my thinking. So here’s all the stuff:

Slideshow

Reading List

These readings are in roughly the same pedagogical sequence that the concepts appeared in my presentation. Note that not all of these were actually cited in the talk, but I did have all of them either at hand or in mind as I wrote.

MORE…

Come to my Stylish Talk at the 2007 IA Summit

March 21st, 2007

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I am speaking next Monday at the 2007 ASIS&T Information Architecture Summit in Las Vegas.

My topic will be “Interaction Design Style“. It will be a highly visual romp through a variety of topic having to do with the concept of style and how it fits into the design of interactive systems:

  • The definition of style.
  • The history and meaning of the concept of “style”, across many disciplines including art, architecture, music, design, writing, and more. Style is not not just fashion!
  • How a consciousness of style can and should fit into a user-centered design process.
  • How style constrains the design process, through both the anxiety of influence and through the availability of overly easy solutions.
  • How style inspires the design process, opening us to new ideas we might never have thought of.
  • How style guides the design process through pattern libraries, best practices, and more.

I was inspired in part by Stewart Brand’s 2003 IA keynote speech, in which he dismissed style (and fashion, and art) as an ephemeral, superficial, and ultimately flimsy basis for design strategies, an assertion that rubbed me a little wrong. Lately this has come back to me because style, broadly defined, is not brushed aside at all in so many other worlds of design and development. It’s not a dirty word.

Maybe, I thought, there are in fact major stylistic drivers behind much of what interaction designers and information architects do, in the same way that style drives much of architecture, music, etc. Maybe we shouldn’t reject stylistic influences, but should instead embrace them.

I’m working feverishly to make the most thought-provoking and interesting 45 minutes I can craft. It’s not going to be a research paper nor will it be a case study — it will be something I hope will be at least a little entertaining and educational, but most importantly a little eye-opening and inspiring. There will be lots and lots of pretty pictures!

Monday at 9:30 in the “Mesquite Room”. I hope to see you there!

More World Maps

March 6th, 2007

Just thought I’d post a couple world maps to compare with my own drawing.

First, let’s see what the big shots say over at Rand McNally:

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Not bad. Almost as accurate as mine.

Let’s see how I compare to the 17th century cartographer Nicolas Visscher:

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I think I kicked his ass.

Talking to Myself with SimulScribe

March 4th, 2007

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Illustration from a 1940’s Bell Labs project investigating human speech synthesis and recognition

I recently signed up for SimulScribe, a new service which replaces your existing voicemail system with one that:

  1. Transcribes the voice message into text (using a speech-to-text (STT) engine)…
  2. wraps the voicemail message into a WAV file…
  3. and then emails the raw text and the WAV file (as an attachment) to your email address.

Setting up SimulScribe couldn’t be easier: The free trial doesn’t even require a credit card to start using right away, and they provide you with explicit and shockingly simple instructions for configuring your voicemail for your particular carrier. You can be set up with the SimulScribe service in literally under 3 minutes.

After setting it up (and this may come has a shock to those of you who still think STT is not ready for prime time), the system has performed almost flawlessly.

Below I’ll present some example transcriptions, followed by some ideas on how this technology might be extended in the future. MORE…

My Map from Memory

March 1st, 2007

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I’m getting some traffic today from kottke, so I figured I’d actually show y’all what the heck it is he’s talking about when he wrote:

The first time I saw a world map drawn from memory was at Christopher Fahey’s apartment. I forget how long it took him to draw, but it was remarkably accurate and fairly large (a few feet across).

So there it is. This is a photo I took just tonight of the map, hanging on the wall of the aforementioned apartment. It’s about four by six feet, entirely in pencil, and I made it over the course of about two weeks in 1993 during my senior year at Cooper Union. During those two weeks, I studiously avoided looking at maps on posters or in newspapers, to ensure that each time I resumed working on the map I would not have artificially pumped myself full of fresh map knowledge. The result is a map not just using my memory, but also using the added elements of (a) time and (b) the basic techniques of drawing.

UPDATE: Some answers to questions, and some added insights: MORE…

Come to my Classy SXSW Panel

February 28th, 2007

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UPDATE, 3/11/07: My post-mortem on the panel, and links to many other people’s opinions on the panel, are now posted here.

I am running a panel entitled High Class and Low Class Web Design at the 2007 South by South West Interactive conference. It will explore the same subjects I discussed in my series of articles last year, but this time with some new voices brought to the table.

My fellow panelists are pretty classy, too:

  • Representing the unbiased rigor of the usability labs, we have Liz Danzico, user experience maven who practially defines the term “multi-faceted” at AIGA, Boxes and Arrows, Daylife, and Rosenfeld Media.
  • Representing the ivory towers of the sophisticated elites, we have Khoi Vinh, my former partner and co-founder at Behavior, superblogger extraordinaire at Subtraction, and for the last year the esteemed design director at nytimes.com.
  • And finally, representing the sweaty locker rooms of Madison Square Garden , we have Brant Louck, a long-time friend of mine who is absolutely perfect for this panel: He is creative director at World Wrestling Entertainment.

I fully expect the panel to be incredibly lively and, hopefully, even a little provocative. Someone will be offended by something someone says, I just know it.

The panel is on Saturday, March 10 at 5:00pm. I hope to see you there!

One Year of Blogging

February 25th, 2007

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I just realized that I have been blogging for over year now (one year and 24 days, actually). I still can’t believe I waited so long to get started.

It’s been such a rewarding experience for me that I now think everyone should have a personal or a professional blog. I really do.

If you don’t have a blog, go get one. Get a friend to help you if you can’t do everything yourself. For me it only took only three or four weekends, including designing the site’s graphics and layout, finding Pau to build the client-side code, and then integrating his HTML with WordPress.

There are even easier and faster ways to get up and running with a blog, too, especially if you don’t have fancy graphic pretentions as I did. So if you’ve ever even toyed with the idea, I say just do it!

Performative Diagramming

February 12th, 2007

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The cover of Bill Moggridge’s excellent Designing Interactions features a sketch/diagram that looks intriguing at first glance. But then when you actually try to figure out what it means, you’re stumped. I tried, but I couldn’t even scratch the surface.

Inside the book itself, we learn that the diagram is based on sketches that Bill Verplank drew while simultaneously discussing some of his thoughts about interaction design — it is what I call a “performative diagram”, a diagram that is created as an integral part of a real-time performance or presentation. After reading the chapter, we learn that the inner circle’s three icons represent three different basic ideas about what a computer is (an intelligent person, a useful tool, a expressive medium) while the other icons (life, vehicle, fashion) are metaphors or examples for how each notion manifests itself in an interaction design.

These are interesting concepts, to be sure. But that diagram really doesn’t “say” what the words say at all, especially when viewed all by itself and out of the context of Verplank’s voice, his gestures, and his actual words.

Diagrams are usually intended to take difficult concepts and make them easier to understand, but this diagram doesn’t exactly do that. Instead, it is an artifact of an explanatory process, the fossilized remains of a performative pedagogical technique combining spoken words and real-time performative gesturing and drawing. MORE…