Several bloggers I know have confessed to me that occasionally they’ll compose and publish articles or posts that they don’t feel especially passionate about, writing things that they aren’t particularly proud of or inspired by, simply because they know that certain topics, ideas, or opinions will give them an easy and predictable traffic boost.

For example, they may sometimes “dumb down” or oversimplify their normally nuanced perspective, or they will overly sensationalize their opinion, or maybe they will take a firm position on something they don’t actually feel very strongly about at all, almost out of a sense of obligation. They will do this to reach out to a broader web audience, to attract new readers, to fire up or inspire their regulars. They will, in short, “write down” to their audience.

I have no problem with this, by the way, since I do it myself now and then. It’s something every blogger has to grapple with: Write for myself? Or write for the people who I want to visit my site?

Jakob Nielsen’s latest AlertBox, “Write Articles, Not Blog Postings” (in which he suggests that a writer’s biggest audience consists largely of people dumber than they are) makes me wonder just where I stand with respect to you, my own reader. Do I want you to look up to me? Do I look up to you?

The Bell Curve

Nielsen’s essay opens with the following short summary:

To demonstrate world-class expertise, avoid quickly written, shallow postings. Instead, invest your time in thorough, value-added content that attracts paying customers.

(Okay, this is a perfectly nice and pithy insight, something to take into consideration when devising an editorial strategy, I suppose. Still I can’t help but laugh at the double irony that follows this abstract. First, Nielsen spends the next several thousand words defending this “no duh” thesis not only by violating Steve Krug’s elegant “Omit needless words” web copywriting strategy, but also by trampling all over his own admonitions to online brevity. And in an almost comical measure of Nielsen’s attempt to avoid hypocrisy, this edition of the AlertBox seems to be packin’ a higher word count than many of his usual, shall we say, “quickly written” AlertBox postings.)

The essay also includes a diagram that seems to capture Nielsen’s core idea that a good content creator must look down on his or her readership. The diagram explicity suggests that bloggers should try to “dumb down” their ideas to reach the broadest possible audiences, the same big audiences that less qualified writers are reaching.

In this diagram, Jakob asks us to imagine that we are a leading expert in our field and that our content has immense value to our audience (an important assumption for any writer or publisher to make!!). He puts “You” at the head of the class, on the right side of the graph. He then plots out other writers — your competitors — and shows that many of those writers who are “less expert” than You clearly draw a far bigger audience than You do.

Notice how this diagram implicitly assumes that the most valuable audience (that is, the biggest audience) for any given content producer are those readers whose “expertise” is half that of You, the publisher/producer. If You want to reach the broadest possible audience then, according to Nielsen, You should aim not for the thin dimwit end of the scale on the far left, nor should You aim for your own immediate peers in the slender expert end on the right, but You instead should aim for the big fat mediocre center of the bell curve.

Of course those who are more expert than You simply don’t show up on Nielsen’s chart at all, which probably speaks volumes about Nielsen’s self-image. If you read between the lines, then it becomes clear that the more expert You are in the world of usability and user experience design, then the less useful Jakob Nielsen’s AlertBox will be to You, since presumably Nielsen is following his own advice and generally writing for an audience half as “expert” as he is. (Note: All of the following diagrams have been altered from Nielsen’s original.)

Bloggers and their Readers are Equals

But this is where I think Nielsen misses the mark the most: If there is any real social innovation to blogging, it is the fundamental destruction of the age-old (and IMHO baseless) assumption that simply by virtue of being a content publisher you are automatically superior to the people who merely consume what you publish. Now anyone can publish anything they want to a broad audience, and the lines have been blurred: between formal and informal writing, between fact and opinion, between institutional and personal perspectives.

Of course, many great blogs make deliberate decisions to gain or retain popularity by, for example, publishing often on topics their readers seem to enjoy most, or avoiding alienating readers with controversial content (when was the last time Signal vs. Noise posted something about politics?). But in the world of blogs this is the exception, not the rule. Bloggers generally have the freedom to publish primarily for themselves when they want to, and most of us exercise this freedom fairly often.

Bloggers Want to Reach Upwards

What’s more, bloggers publish aspirationally, hoping that people smarter than us will notice us and read what we have to say. This may not be how Nielsen sees his job, but that’s how I work: I write graphpaper.com assuming that readers of all kinds will reach my site, some less expert than I am, some more. I know that people at the “stupid” end will stumble into graphpaper.com now and then, but at the same time I am always hoping that people at the “expert” end will find something they enjoy here as well. Assuming that my audience is entirely “dumber” than me is not just arrogant, it’s simply not an option.

And because I have the freedom to publish on whatever subject I wish, from user experience design to art criticism, from politics to my personal life. The subjects of my posts will even sometimes land me way over my head on a subject I know little to nothing about (see “Me”, left, below), which can be at best amusing and at worst humiliating.

But this freedom also allows me to occasionally write about something I think my professional peers might find interesting and useful (see “Me”, right, below), something that I genuinely have “expertise” in. In other words, I can be all over the bell curve.

As is clear, there is no real “juicy center” to my audience at all. In all honesty, my audience, in my mind, is generally (a) me and (b) certain people I know and respect. My editorial capriciousness is hardly a good example of user-centered design, and it’s probably also bad business (in that it probably doesn’t help grow graphpaper.com’s loyal readership base). But it’s how blogs work, it’s an essential, fundamental dynamic of today’s user-generated/self-publishing culture.

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At least Tony didn’t pick Heart’s “Magic Man”!

Almost every Friday near the end of the day, someone at Behavior will start playing loud music to help remind everyone to stop working soon — the musical equivalent of the whistle that tells Fred Flintstone that it’s quittin’ time.

This Friday, my partner Jeff blasted “Don’t Stop Believin’” across the office. This song has been in my head all week, a textbook case of earworm. And apparently I’m not the only one: The song is currently the iTunes Music Store’s #17 most downloaded track. Of course, this is because the song was the soundtrack to the final moments of last week’s Sopranos series finale.

As we listened to the song around the office, it quickly turned into a kind of game: Every time Steve Perry got through belting out the first two words of the chorus Don’t stop…, everyone in the office anxiously expected Jeff to mute the song right on cue: Dont stop…

Listen to the song right now. I’ll bet you’re tempted to hit that pause button somewhere around 3:39. Go ahead. Try it.

I wonder how many thousands of people played this game this week, cutting off the audio on cue? How long will it take for us to be able to hear the song at all without thinking of Tony, Carmela, AJ, and Meadow in the diner? And how long will it take for us to be able to hear the chorus without imagining it suddenly ending in silence?

Dont Stop Believin’ points to an emerging trend of the Long Tail, where songs and other “products” lingering in the skinny part of the tail can, in literally an instant, find themselves resurrected after a single memorable and compelling intersection with something farther up on the thicker end of the tail. The Long Tail is not a one-way operation — anything in the tail’s long reach can quickly move up close to the root given new exposure and raised consciousness. In the case of this Journey masterpiece, perhaps the sudden rise will prove fleeting, but maybe the sudden injection of relevance and awareness will give the song a permanent boost. I think it has for me.

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Sartre would be proud.

The shocking (and to many viewers, utterly disappointing) ending of The Sopranos series finale was perfect. The tableau itself was a perfect jewel: the nuclear family all together, happy it seems for the moment, but completely surrounded by unknown and unseen danger. David Chase pumped the scene full of more tension than any other moment in the series’s history — is the whole family about to get whacked? — but ultimately there is no concrete evidence for the audience to be sure that any violence is about to happen.

Most of the predictions made about the finale, even the ones in our office pool, are still possible, as they always have been. The violence that surrounds the Soprano nuclear family has always been the subject of the series, and the finale simply wrapped that up into a single vignette, a microcosm of the whole 8-year series.

Consider the Seinfeld series finale, where the core cast found themselves in jail for, apparently, eternity. This ultimate predicament was a microcosm, too, of the series itself and the relationship between Seinfeld’s four core characters, the Seinfeld nuclear family, if you will. Seinfeld was often called a show about nothing, but it was always about the characters. Every episode we learned more about, and dove deeper into, the four main characters and explored a little bit about some unique and colorful secondary characters.

The Sopranos finale was similar. We’ve never asked The Sopranos for long-arc plots with carefully-planned setups, mysterious clues that come to fruition later. Generally, all that ever happens on The Sopranos is that we are drawn deeper and deeper into our understandings of the characters, particualarly Tony, and occasionally we find surprises inside of them. This is what The Sopranos is about, not plot. My wife, Peggy, noted that ultimately The Sopranos was not a “gangster movie” but a “soap opera”. And in a soap opera, ultimately, nothing ever happens. Dr. Melfi’s decision to end Tony’s therapy also reflects this realization, that despite all her efforts over eight years, Tony has not changed and will not change. The final moment of the show encapsulated this tense stasis perfectly.

The Behavior office pool got almost nothing correct, but we had one phenomenal write in winner: “Cliffhanger”. Some of us got Phil Leotardo’s hit. But that’s it. And nobody predicted that Christopher would come back from the dead as a cat.

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UPDATE 6/11: See the results of the pool, and my take on the Sopranos finale, here.

In anticipation of The Sopranos series finale this Sunday, everyone I know is making predictions about who lives, who dies, and all other kinds of plots and events. To help make the speculation even more interesting, I’ve put together this handy-dandy grid of characters and plot developments to help you keep track of how good your predictions are.

Download the Sopranos Finale Pool (33k PDF, two pages including grid and rules)

If you’d like to make all this predicting a little more interesting, I’ve also included some suggested rules that you can use if you want to turn this into a good old fashioned high-stakes office pool.

Suggested Rules

1. Choose any number of combinations of characters (along the left side) and fates (along the top), then initial each of your predictions in the corresponding cell.
2. Each prediction (each cell) will cost you ____ of play money.
3. Hand in your game sheet and play money by ____ to the game administrator, ____.
4. Winning cells will be identified by the game administrator during the final episode of the Sopranos on June 10, 2007 (ex: If Uncle Junior commits suicide, C-17 will be a winner. If Dr. Melfi has a hallucination, P-9 will be a winner). The game administrator makes the final decision regarding any plot ambiguity or dispute.
5. There will almost certainly be multiple winners, in which case the pot is divided proportionally among the winning players according to each player’s number of correct predictions. (ex: If one player makes six correct predictions, a second makes three, and a third makes one, then the pot is divided 60/30/10% among the three winners.) The game administrator is responsible for all mathematical calculations!

FAQ

Q: Where’s [missing character]?
A: Not every character is included. Whaddaya gonna do? Game administrators may, however, add additional names in the blank spaces provided along the right side of the grid (optionally, admins may also permit players to add their own characters).

Q: What about [your personal plot prediction]?
A: As above, the game administrator may add several additional plot events in the blank spaces provided along the top of the grid (and, as above, admins may extend this privilege to the players if they wish).

Q: But [character] is already dead!
A: In order to both (a) avoid spoilers for those players who may have missed a few episodes, and (b) permit flashbacks, dreams, and other alternate-reality developments to occur, a small selection of deceased characters have been scattered throughout the grid. (Predicting that a character will die who is already dead does not count as a correct prediction, smart-alec!)

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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…

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The word “experience” comes from the Latin word “experīrī”, 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.

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My IA Summit presentation was an experiment in what is a new presentation style for me. I have long admired the rapid-fire presentation style of Lawrence Lessig (aka the “Lessig method“) and in particular the example of Dick Hardt’s keynote at Identity 2.0. Also, I’ve always wanted to achieve the same aesthetic and pedagogical dazzle that my freshman art history teacher managed to lay down every Friday morning at 9:30 to a room full of overworked and/or hung-over art students.

I knew from the start that I would have a lot of slides – that was part of my basic concept, to show style in action across a broad variety of professional disciplines, as a quick barrage of images to drive home the point. In most of my day-to-day business or academic presentations, “1-minute-per-slide” is a pretty good rule of thumb, but for this presentation I ended up with 239 slides to show in 40 minutes. That’s one slide every ten seconds!

I was shocked that it actually worked – quite frankly I was bracing myself for a train wreck. The biggest reason for my surprise is that although I worked extraordinarily hard on the talk, I didn’t manage to get even one chance to rehearse it to see if it even came remotely close to fitting in at under 40 minutes. But in the end, thanks only I suppose to my intuition about my speaking skills, I managed to get to the final slide with five minutes to spare and without losing too much momentum along the way, even as I had to disappointingly breeze through a couple of segments.

About the Topic

After doing all the research and all the thinking, after diving so deeply into the subject of style, I still feel there’s a LOT to say about it. In fact, I feel like my 239 slides barely scratched the surface. Due to time constraints, I glossed over my discussion of three fascinating topics:

Functionalist Modernism

The first was a more in-depth discussion – a refutation, in fact – of what I call “functionalist modernism”. I touched on it briefly with one example, showing that Charles and Ray Eames were not at all the form-follows-function minimalists contemporary design catalogues would have us believe, but that, rather, they loved ornament, kitsch, bric-a-brac, patterns, and all of the decorative crimes that the true modernist eschews. In other words, they were immersed in an ocean of style.

But my primary target was Le Corbusier, an icon of functionalist modernism whose posture as a scientifically-based designer was, in fact, a self-deceptive sham – in much the same way that I think that much of today’s “lab coat” information architecture (and indeed a certain subset of the broader design world) is, sadly, a self-deceptive sham in which style exists but is deliberately obscured.

I also wanted to heap more praise on Alain de Botton’s The Architecture of Happiness, a book that I think not only puts the lie to so-called functionalist modernism, but exposes the deeply poetic and humane nature of good architecture – a way of thinking about architecture that, I think, has yet to be explored adequately in the world of information architecture (a connection that, I think, Donald Norman attempted to make in his under-appreciated Emotional Design).

Abductive Reasoning

The second topic I had to skip over was my discussion of “adbductive reasononing”, a type of semi-logical thinking that envisions not what is (as with inductive and deductive reasoning) but what might be or what could be, a type of thinking more common among artists and designers. I wanted to connect this with the concept of “design thinking”, a methodology that is the inverse of the business-based risk-averse process of building products to precisely fill carefully-measured needs… but after reading Dan Saffer’s lament on the topic, I’m reluctant to use that term any more (a post on this is to come) so in a way I’m glad I didn’t go into it too much.

Christopher Alexander’s Design Patterns

Finally, I sadly had to skip over my take on Christopher Alexander’s concept of design patterns. Alexander’s name is dropped frequently these days, especially in the interaction design field, but I see his work very differently than I think most people are currently interpreting it. I consider Alexander’s design patterns to be highly idiosyncratric, deeply creative, overtly political, a wee bit spiritual, and ultimately poetic in nature – which is to say that they are not at all the scientifically-based proven best practices they are too-often presented as. I would even say that Alexander was advocating a certain style of architectural theory.

For Future Development

After all the research and writing, my appetite for this topic is only just beginning. I’m not even entirely sure if the concept of “style” covers the full breadth of what I am seeing here – perhaps it’s more about aesthetics or the re-emergence of the formal and decorative, even the idiosyncratic and poetic, as key drivers of good design.

I have uncovered surprising connections between truly fascinating subjects. I’ve found remarkable authors and designers whose work I was previously unfamiliar with (who on earth is Mr. Keedy and how did he get to be so clever?). It’s clear to me that there is an incredible amount of additional material here, and a lot more for me to think about and say. I would love a chance to continue developing this topic, whether as a longer presentation, more formal articles, or even, heavens, a book.

In the Sausage Factory

If you can stomach it, I wanted to share a little insight into the development of my presentation (or, if you will, the magnitude of my procrastination).

I was working on the speech and the slideshow all night right up to my Friday morning flight, on the plane, off and on throughout the conference, and all night long leading right into my Monday morning session. While in Vegas, however, I did manage to squeeze in a stunning dinner at Bouchon, a drive-in showing of 300 with a few six packs and some excellent soul food, and, on the final night before speaking, a rapid-series of thematic drinks at Quark’s Bar at the Star Trek Experience (including a massive “Warp Core Breach”).

Yes, that’s right, I had too many drinks and absolutely no sleep in the 24 hours before speaking. While the drinking didn’t help any, I do kind of thrive in no-sleep circumstances, actually, as long as a quart of coffee is consumed immediately prior to the moment when top-performance is required (this does not, however, apply to athletic performance, however).

Lou Dorfsman, the great advertising and design luminary, once told my partner Jeff Piazza that his secret to giving a great presentation was to gulp down a shot of Scotch immediately before speaking. I have immense respect for that, I really do, but I guess I’m just made of somewhat different stuff than Mr. Dorfsman.

My work process can be divided into five very distinct phases:

1. Topic Generation (two weeks of occasional work): The topic and the presentation format came to me in the most clichéd of contexts – in the shower. I was a last-minute addition to the Summit schedule after another speaker had to withdraw, so I was already a month or two behind when I was asked to participate (and the fact that I was permitted to skip the judging process only put more pressure on me to do a kick-ass presentation). It took about two weeks from having the initial ten-word concept before I got to the point where I could write a coherent three paragraphs about the topic, and by that point it was too late to get my description into any of the printed materials for the conference.
2. Idea Collection/Research (four weeks of occasional work): Idly and intermittently thumbing through my bookshelf, browsing the web, bookmarking links, jotting down random thoughts in my sketchbook, and writing jumbled blog drafts. At no point in this timeframe did I have an overall outline of the final presentation – I was letting the research and my own unpredictable inspirations shape my thinking.
3. Formal Preparation (five semi-intense evenings): This is where I picked up a few new books and consumed them rapidly, and where I formed the bulk of the overarching concept. During this time I mostly focused on switching back and forth between gathering raw materials (copying or transcribing text snippets into my outline, structuring the outline, and collecting/scanning/photographing images for use in the PowerPoint show) and actually writing my original commentary. I had the final outline 50% done in this timeframe, and had probably written down about 30% of the actual words I wanted to say, but only about 10 slides were actually in the PowerPoint deck at this point. It’s three days before showtime.
4. Frenzy! (four intense days and nights): This was the most schizophrenic part. I was quite literally doing a little of everything during the final four days. I would spend an hour fine-tuning individual slides, aligning images and normalizing fonts, only to spend the next hour completely re-ordering the thematic flow of the whole presentation and writing the final script. Intense and completely random alternation between micro and macro.
5. Purge! (2-3 hours): Only in the final hours before showtime did I actually throw in the towel on some sections of the presentation that I knew I would not be able to discuss adequately. I deleted about 10 pages of what would ultimately be a 33-page script, and maybe 50 slides to bring the total PowerPoint page count to 239. I’ve saved all the deleted material, so they’ll probably come up again in a longer-format version of this topic.

I’m very happy to note that my process was entirely consistent with the basic premise of my talk: I had my final delivery style decided very early on, my fundamental outline was never really final until nearly the last minute, and in any event it didn’t completely dictate the content anyway but rather the concept was as much influenced by the content itself – in the same way, I think, that a product’s style shapes that product’s basic premise as much as the premise sets the framework for the product’s ultimate style.

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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!

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My SXSW panel, High Class and Low Class Web Design, is over now, and I can now share a little bit of about how I and a few others think it went.

Some bloggers who attended the panel have already published their own notes and reviews, too, so if you want to skip what I think and just read some outside opinions, please do so.

• Sam Felder (very thorough raw notes)
  
• Fast Company/Brian Reich (good comment/discussion here)
• Scot Hacker (raw notes plus interesting commenters)
• David Panarelli (nonplussed)
  
• Laura Creekmore (nice real-time commentary)
  
• Liz Henry (very thoughtful insights)
  
• Mani Sheriar (some personal insights)
• Gordon Luk (unique and interesting perspective)
• Brett Roegiers
• Kathleen Waugh
• Matthew Magain
• Scott Fiddelke (very long raw notes)
• Sara Smith
• (more as I find them…)

And if you attended the panel yourself, I’d love to hear your thoughts, both about the panel and the subject itself, in the comment area.

MORE…

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