Making Numbers Talk: Something Exciting in Design Ethnography

6 02 2010

I have always refused to be constrained by the conventions of a genre, discipline, or society. Fitting neatly into such a compartment cramps my style, harshes my zen, and squashes my favorite lampshade hat.

As a result, my journey from quantitative researcher to qualitative researcher has not been without frustration. In general, both communities seem to scorn the contributions of the other. Qualitative researchers can be heard to say, “But when there are numbers, people think that it is concrete and objective! And nothing is ever objective!” Quantitative researchers, on the other hand, scoff, “But how can you possibly know that, with such a small sample size?” Neither side of the razor-wire fence separating the two forms of data seemed particularly keen to bridge the gap.

I have been waiting, dreading the moment when both communities turn to me and say, “Well? Decide already! Which will it be, quantitative or qualitative?”

I wouldn’t have an answer. I didn’t think I could choose.

Imagine my delight, then, when I was greeted by this poster on my first day of Design Ethnography this semester.

Catriona explained that in the early days of design ethnography, the ’80s and ’90s, practitioners of the discipline thought that the real challenge in design ethnography was doing the fieldwork. Through the early part of the 21st century, however, it became apparent that the real challenge was communicating the findings of a study.

Now, on the cusp of a new decade (depending on how you count it), it has emerged that while communicating the findings is important, and good field work is vital, the difficulty facing us now is interacting with other kinds of people and other kinds of data.

I heard this and a little light went on in my head. This challenge left room for me to build a career that combines design ethnography (my qualitative research of choice) and machine learning and data mining (my quantitative research of choice). There was hope!

It was not until the following Wednesday that I realized exactly how much hope there was. We had a guest speaker, Tye Rattenbury from the People and Practices Research group from Intel. He gave us a presentation on how his team does user research, and it blew my mind.

Essentially, what Tye’s team does is collect a bunch of quantitative data on a set of participants in a study. They mine the data for trends and create innovative ways to visualize the data to make it easier for the participants to understand. They take the data visualizations to ethnographic interviews and let the participants use the data as a prompt to launch a story. They let the participants give the numbers a voice. They let the participants make the numbers talk.

Not only is it a brilliant approach, I think it might be precisely what I want to do.





The Story of the Samosa

29 01 2010

As fair as had ever walked the earth

There was being and nonbeing, there was none but God. In the old, old times, there was a king, guardian of the throne of wisdom. This king’s only child was a beautiful daughter, as fair a girl as had ever walked the earth. Her hair was as dark as the sky at midnight, framing a face as golden as a harvest moon. Her eyes were deep and black and warm, shimmering in their depths like coffee. Her form was–well, suffice to say that she turned heads.

In the fullness of time, the princess came of age and was to be wed to ensure the succession of the throne. But who, the king wondered, could be worthy of such a rare and precious flower? This was a matter of great concern to him, and he gave it considerable thought. A worthy man, he decided, would be a man of great riches, to adorn the princess with finery befitting her stature. A worthy man would be bold–after all, it takes confidence to hold the throne. And finally, a worthy man would be wise: ruling a country was not an easy task, to say nothing of the difficulty of ruling a wife!

It would be a difficult task, to find a man who was all three of those things. Certainly he could not search for such a suitor himself–he was a busy man, and he would hate to squander his daughter’s most fruitful years searching for an appropriate match. But the king was a clever man, so he thought, and at length he arrived at a solution.

He would bring all of the eligible suitors to him! After all, his daughter’s beauty was well known throughout the land and the lands that his merchants traded with. He would host a contest: each suitor would bring a gift befitting the princess. She would select her favorite from among them–whoever’s gift was selected would be a fine husband for his lovely daughter! The king was delighted with his solution. The gift the suitor brought would speak to the suitor’s riches. He would be bold to show up before the princess at all. And finally, his wisdom would be apparent in how well the gift suited the princess–surely her favorite gift would come from the wisest man of all!

And so it was to be done. The king dispatched messangers to the four winds and news of the competition spread. Princes, sultans, wealthy merchants and generals sifted through their stores of wealth, seeking that one perfect gift to present to the princess. Goldsmiths and jewelers throughout many lands were commissioned to devise clever trinkets and beautiful sculptures. Each came to the royal city, confident that his gift was the most worthy, that he would be chosen by the princess, that he would someday be king.

On the day of the contest the line of men stretched from the foot of the throne, out of the throne room, through the palace, across the palace grounds and all the way out the gate into the city. Some of the suitors carried their own gifts, glittering in their arms, while others were flanked by a servant struggling under the weight of the riches to present to the princess. The wealthiest among them were themselves carried by servants.

At long last the contest began.

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Machu Pichu Pecha Kookie Introduction

28 01 2010

This very short podcast is an introduction to me and my interests within design ethnography. It was quite a bit more difficult to make than I had expected! But three computers, three operating systems, four microphones, two video recording programs, eight video editing programs, and three file formats later, here it is, for your viewing pleasure.





Online Identity Management

21 01 2010

The problem with the internet is that it is simultaneously public space and private space. One can stake out a little piece of internet and claim that it is one’s personal online playground–but often one is still held professionally responsible for the content.

Further complicating the issue is different professional communities have different community standards. What may be completely acceptable in one community may prove disastrous in another community. Jeph Jacques’ twitter feed is delightful within the context of the webcomics community, but I imagine similar tweets coming from an Intel researcher would be frowned upon.

The problem is not so intractable if one aspires to one profession only, or to a range of professions with mutually compatible community standards; in those cases one can build a public online presence that complies with the community standards and a private one that doesn’t. But what if one aspires to a range of professions with vastly different community standards? Does one censor for the most conservative community, possibly at the expense of the presence in the more permissive community?

One possible solution involves operating in one community under an assumed persona, something particularly possible if that community’s professional sphere is largely online (ie, webcomics or professional blogging). I find this solution frustrating for two reasons:

  • I am proud of all of my work, and would like it to be associated with me and my name, not a name I had to invent because someone else has different standards of acceptability
  • Choosing such a pen name requires a level of commitment that at 23  I find very constraining; the only self-branding that I have been satisfied with in any long term way is my own name, and I have difficulty even with that.

Additional things to contemplate: what belongs in a professional web presence? I am prone to producing long reflections on tools that I encounter and experiences that I have while working in various sectors. I think this is a valuable thing not only for me, but for my professional community; if I show exactly what and how I am learning, it’s a shortcut for others. However, in a discussion with today with Dr. Catriona Macaulay, program director for the MSc in Design Ethnography at the University of Dundee, that has been called into question.

“Consider the audience”, Catriona instructed me. The reason to have a professional web presence is to build a professional network, she asserted. Professionals are busy. An executive once told her that each email he received got 15 seconds of attention–if in those 15 seconds he was not convinced to give that email a minute more, then the email was discarded.  Catriona felt that the audience of a professional web presence would have similar time requirements: they would be reading to get something out of it, wanting to get that something in under two minutes. My job, she explained, was to make them interested in me and in what I am doing in those two minutes.

While I acknowledge the importance of brevity, I am concerned that focusing only on the briefest overviews of what I am doing runs the risk of turning my professional web presence into a glorified multimedia CV. I feel much of the value I have to add to my disciplines is in sharing what I’m thinking about what I’m doing. In other words, to what extent do critical reflection and analysis belong in a professional web presence? What is the purpose of your professional web presence?

Do you have any examples of professional web presences done particularly well? How have you balanced your professional and personal web presences?

When you read professional blogs, what do you want to get out of them?





A Real Writer Now

19 01 2010

I am a real writer now! In that I am in print in a magazine that is not affiliated with my university! I am a writer for Square Go, which is a video game magazine based in Edinburgh. My first review, which was over a little internet flash game called Submachine 1. Go read it! It is funny even if you aren’t a “hard core gamer”. In fact, that’s Square Go’s whole schtick–it’s “Video game reviews for the rest of us.” It is very accessible.

http://www.square-go.com/review/888

It is not lost on me that the permalink to my article is made exclusively of 8’s, my favorite number. I think it’s an auspicious start.

Here’s to a long and productive relationship between me and Square Go!





Once upon a time, I was a scientist

11 01 2010

While you are all waiting with what I am sure is hushed anticipation and bated breath for tales from my wild and wacky December, here’s a peak at my more distant past.

You see, dear readers, I used to be a scientist. The kind that had hypotheses and tested them by performing experiments. The kind that could control variables. The kind whose analysis involved graphs and things like sum squared error.

Lest you or I forget that this is where I come from (and hopefully where I will return one day), here is the work of which I am most proud.

CAPTCHA Recognition Poster

Zack and I did this project for our Machine Learning class last fall. You probably want to check out the poster in larger form–if you click on it you will be transported to the Flickr page where you can get the larger version for perusal.

And there is a slideshow, as well! The text got a little borked going from PDF to whatever slideshare uses, but if you overlook the wonky text, you get the idea.





Review: Sin and Syntax: How to Craft Wickedly Effective Prose

9 01 2010

Sin and Syntax reads like a skin mag. It feels naughty, as though it should be clothed in modest brown paper and read in glances stolen in solitary moments. Books on prose style rarely recall this deliciousness of illicit self-indulgence; however, books on prose style rarely demand “Grammarians, get a grip.” This book is so sensual, the content so lascivious, that a cold shower might be required following reading.

The book is divided into three sections: Words, Sentences, and Music. Within these divisions, Hale addresses each grammatical topic in four ways: the Bones section is the fundamentals, providing support to the Flesh section, which instructs the reader in the construction of prose. Cardinal Sins warns of the disastrous results of grammatical ignorance, while Carnal Pleasures delights with exquisite tastes of prose hewn well, either by masterful manipulation of grammar arcana or by selective application of the rules. The result is part plumbing, part Kama Sutra, and surprisingly riveting.

Sin and Syntax distills the art of writing to a few heady drops of liquor that stimulate the tongue. It is not the cod liver oil of the last generation’s books on prose style, that must be choked down a screaming esophagus and leaves a lingering aftertaste of condescension. While Hale insists “This is not rocket science,” she rejects the language of bureaucrats and academics, praising the unpretentious. “Relish every word,” Hale advises, “Be simple, but go deep. Take risks. Seek beauty. Find the right pitch.” Sin and Syntax hangs its ideas on those pegs, drawing the reader into the language’s boudoir, one discarded garment at a time.

Hale draws from a multitude of sources to make her points, from a 1969 Jell-O commercial to a letter sent to a young Lewis Carroll. The expected cast members make appearances: George Orwell, Hugh Blair, Mark Twain, and others have their say. However, Hale is not content to use only the words of the gods of prose style–politicians, advertising agencies, airlines, and wineries are just a few of those who lend their grammatical grand slams and strike-outs to the manuscript. These surprising examples make the experience more familiar to the reader, reminding him that the language is the bedfellow of not just the prose elite. The book, “[looking] to the ways the spoken and the written crisscross and connect and cross-pollinate” begs to be read aloud, to entice an audience into the hip, hypnotic pages.

It is gratifying to finally learn that infinitives can be split, prepositions can end sentences, and rules, once learned, can be flouted or flaunted to produce ravishing prose . Unlike the grammar treatises preferred by the schoolmarms and Marian-the-Librarian types, which leave the reader feeling like a hack, Sin and Syntax inspires an all-consuming love of the language. It subverts sanity, makes mad with desire to write. Fingers desperate for pens fumble with bodice laces displaced during so intimate an encounter with the language, as readers hasten to obey the commands Sin and Syntax issues: “Be infatuated. Be seduced. Be obsessed.”

Constance Hale. Sin and Syntax: How to Craft Wickedly Effective Prose. New York, NY. Broadway Books. 1999. 289 pages. $14.95. ISBN 0-7679-0309-9.





Fortitude and Patience Book Reviews

5 01 2010

On another note entirely, my sister and I have launched a blog project together (like I needed another one). It is called Fortitude and Patience, after the lions in front of the library in New York City. My introduction and her first review are up. Go, read, and enjoy!

Fortitude and Patience Write About Books





And Now for Something No One Will Want To Read (Or, Design Ethnography: Like Anthropology, but Less Conflicted)

15 12 2009

Design Ethnography:

Like Anthropology, But Less Conflicted

Academic anthropology is the unholy love child of natural science and colonialism, and is burdened with the resulting identity issues that one might expect from such a union. It is a discipline “severely divided and deeply troubled in its self-identity… torn and fragmented, [anthropology] has lost its professional confidence as the Science of Man” (Eriksen, 2005, p. 34) Its origins leave it effectively crippled, frozen in self doubt, unwilling to adapt to the changes globalism has wrought on the landscape. The power of anthropology, its tool set for collecting rich description, is not lost to the world, however. Design ethnography, born of anthropology’s field work practice, offers a new discipline lacking the identity issues plaguing academic anthropology. To understand why this is the case, however, it first is necessary to examine the birth of anthropology.

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Tom Inns’ Toolkit

9 12 2009

Edit: Somehow I left out the last paragraph of my essay. Now it’s fixed!

For the last four weeks in Tom Inns’ Strategic Design Thinking class, we have been practicing various tools. We have covered a different tool each week, and at the end we were asked to write an essay on them, explaining how they would fit into our design practice, and if so, why? We were also to address which tools we thought were the most useful, and how we felt they could be improved. Before I get into the essay, I thought I’d show you the tools we worked on. My group (consisting of Cora, Caoimhe, Jamie, Mark, and I) was redesigning a grocery delivery service. (More tools after the jump!)

Tool 1: Stakeholders

Stakeholder Tool 1
identifying measures

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