First Published in UX MAG on April 8, 2016 http://bit.ly/1SsOlS0
In a world where almost everything is digitized, services can now be understood as concepts with infinite potential to grow and transform. What was once unimaginable now lies within the expected.
And because concepts have the multi-dimensional flexibility for infinite semantic relationships, powerful service partnerships are beginning to emerge that are able to better respond to changes in customer needs, desires and expectations. The delightful ‘Of course!’ moment often reveals itself through these service combinations, giving new meaning to the services that we use.
First Published in UX MAG on January 18, 2016 bit.ly/1RR3phA
As I found myself procrastinating while writing this article, I began rationalizing this behavior: for all the hours spent postponing this task and that, I had subconsciously been preparing for the task, mentally organizing thoughts and data.
First Published in UX MAG as part of The Top UX Predictions for 2016 on December 30, 2015
In 2016, design will empower people, giving them a sense of control over their bodies and environments. More importantly, this is the year that design will fuel all aspects of our social and private lives, and play a role in how we deal with the everyday as a society and as individuals. Digital services will continue to help organizations build stronger relationships with their audiences by providing more informed and personalized experiences that meet their needs and exceed expectations.
First Published in UX MAG on May 29, 2014 http://bit.ly/TZVmDY
Digital design paradigms are shifting faster than ever before. In less than a decade, we have moved from point-and-click to skeuomorphism to flat design. This pace of change impacts designers who need to keep up with ever-changing standards, companies that have to manage increasing fragmentation and updates across platforms, and it also affects customers who have to process and adopt novel patterns while seeking familiarity in the tools that they use. In an omnichannel, ever-evolving world, how can designers manage all of this disruption?
“UX dept” is used to represent the gap between a product’s ideal user experience and its actually quality. The expression gives life to that gap and provides designers a language for perceiving and evaluating the real state and quality of UX experience in terms of the 4 emotional measures: functional, reliable, usable, and pleasurable. According to Aarron Walter’s “Hierarchy of User Needs,” which follows Maslow’s framework of Hierarchy of (Human) Needs, the functional measure lives at the lowest level of the quality axis and supports the increasingly qualitative measures: reliable, usable, and pleasurable; the latter sitting at the top of the pyramid denoting the ideal, target or “peak” experience.
As clients are becoming increasingly aware of ethnographic-ish research being an essential and integral part of the design process for a high quality user experience offer, it is important for us (designers) to learn an appropriate format for approaching and customizing research on a project basis.
Frog’s Research Learning Spiral, as David Sherwin names it in A Five-Step Process for Conducting User Research, allows us to think of research as not only a set of insight-focused methodologies and collaborative practices, but also very much so as a process of articulating and defining the focus area and scope of the research itself through its 5 learning stages: Objectives, Hypotheses, Methods, Conduct, and Synthesis.
On May 7, 2013 I attended an event entitled “The connected Home, TV, and Living Room” sponsored by MIT and Verizon at the Yotel Hotel in New York. The talks consisted of 4 startup representatives who Verizon named “Ninja Innovators”… this is I am assuming open to interpretation. Presenters were allowed a total of 3 minutes each, or so. Enough time to give you an idea of what their ideas were and share a URL, but not enough to totally grasp the incentive behind the work and how users find their concepts engaging, useful, and possibly sustainable.
Last summer, a group of Fjordians took an inspiration field trip to the Park Avenue Armory to experience Janet Cardiff and George Bures Miller’s “Murder of Crows.” In this spatial-sonic installation, Cardiff recounts an uncanny dream through the subtle use of natural and urban sounds, machine-like distortions, intertwined with classical musical scores and a Russian anti-fascist war song.
“[L]everage points” […] are places within a complex system […] where a small shift in one thing can produce big changes in everything.’ (Meadows, 1999:1)
Simple systemic flows connected together create complex systems. Flows consist of stocks moving according to set parameters, constants, and numbers. According to Donella Meadows, a system has a stock-and-flow structure. Its stock represents its state, and its flow represents the inflow and outflow that reflect changes in the system’s stock volume. This flow has temporality and depends on the parameters existing in the system. Parameters indicate the rate at which flows increase (inflow) and decrease (outflow) the system’s stock volume. A system may be stable, slow or rapid (imbalanced). Because this stock-and-flow structure entails that the stock volume and stability depends on the rate of the flows (in and out), a system’s stability requires the leveraging of a stock’s buffer capacity so that, if slow, the buffer decreases, and if rapid, the buffer increases. Decreasing or increasing the size of buffer capacity in a system stabilizes and leverages its stock.