ing    Retro Funk
                    BeBop
                    Free-form Jazz
                          BAROQUE
         ...
Me:
Information architect Happy Cog
Editor Rosenfeld Media, A Brief Message
Educator The School of Visual Arts
Board membe...
You
Detectable
          Detectable




Present     Additive    Performance
WHAT WE’RE TALKING ABOUT
1   Defining frameworks
As we made the transition from
print to web, we took some of
the principles with us.
Because we’re designing for the
web, we’ve let go of some of
that control.
http://pieaia.org
We’re not designing artifacts.
We’re not designing artifacts.
We’re designing frameworks.
We’re not designing artifacts.
We’re designing frameworks.
And frameworks require users
to adopt, to adapt, to improvise.
Framework:
Provides uninscribed and
detectable cues that loosely
govern a set of actions or
interactions
Interfaces are no longer telling
the story; they must provide
places that enable storytelling
to happen.
Thus: users must
adapt, adopt, improvise.
This is a story about people
and technology. With music.
    LEARNING FROM JAZZ
2   A ordances in music
An aside:
An aside:
Jazz music was a reprieve from
Classical music which had
dominated the last centuries.
Classical composition:
Classical music composition
didn’t leave room for
participation.
Jazz notation:
Courtesy Dan Cohen
 http://youtube.com/watch?v=2kotK9FNEYU
Courtesy dancohen, YouTube (youtube.com/watch?v=2kotK9FNEYU)
Modal jazz leaves spaces
between the notes for artists to
improvise. Liberally.
4
V 4q q q q q q Q Q Q
“You will hear something
close to pure spontaneity
 in these performances.”

— Bill Evans, Kind of Blue, pianist
“Creative Instability”
Before the
advent of
writing, epic
storytellers
relied on music
patterns to pass
along stories =
oral tradition
“Composition
in performance”
“We are witnessing the
reemergence in electronic form of
oral patterns that have been hiding
  in plain sight for generati...
ONLINE EVIDENCE
3   Designing for improvisation
Whether sidewalks, music, or
the oral tradition, there are
unscripted frameworks that
allow improvisation to happen.
Detectable
          Detectable




Present     Additive    Performance
Detectable, or “a lot with a little”
1 2 3 4
http://basecamphq.com
http://backpackit.com
http://geni.com
“That’s when I know
 WordPress is doing its job:
when people aren’t even aware
   they’re using it because
  they’re so bu...
http://wordpress.org
Present, or “in real-time”
http://subtraction.com/archives/2006/0929_ripped_from_.php
http://signalvnoise.com
http://boxesandarrows.com
Additive, or “part of a whole”
http://abriefmessage.com
http://www.flickr.com/photos/library_of_congress/
24 HOURS
4,000 unique tags
 19,000 total tags
  500 comments
Performance, or “the audience is
        always right”
“Miles Davis presents ...
frameworks which are exquisite in
their simplicity and yet contain all
   that is necessary to s...
http://virb.com
http://murdersandmysteries.com
http://weightshift.com
Detectable
          Detectable




Present     Additive    Performance
HOW DO WE DO IT?
4   Tools and principles for use
“All art is performance art, which is
  to say that it is first and foremost
 activity. It is the act of art … that is
 imp...
Contextual inquiry Participatory design Agile development
User-centered design Participatory design Persona creation
Agile...
Contextual inquiry Participatory design Agile development
User-centered design Participatory design Persona creation
Agile...
User-centered design:
The needs, wants, and
limitations of the end user are
given extensive attention at
each stage of the...
Participatory design:
Actively involves users in the
design process to help ensure
that the product designed
meets their n...
“In a world that is not predictable,
   improvisation and evolution
      are more than a luxury:
       they are a necess...
All the focus has been on the
design process.


   Design    Release    Use
Not on how design evolves
with use.


                      Use
   Design   Release
This is not unlike the tension
between print versus the web.


  Compose    Transmit   Interpret
Or how we communicated
prior to the advent of writing.

   Compose


                        Interpret

   Transmit
User story

Business
requirements
               Rules of      Build and                               Re-
               ...
Designing for improvisation:
Requires a co-adaptive process
between users and systems —
a democratization of the
creative ...
Music: Transition to frameworks
(A gross generalization)


                                                Classical Music...
User participation: Transition to frameworks


                                                                          W...
Build process: Transition to frameworks
 (Another gross generalization)

                                                 ...
Design process: Transition to frameworks


                                                                               ...
Improvisation
                  facilitators?

User
Sophistication




                       Time
1
    Learn from familiar models—
    cities, music, traditions.


2
    Create frameworks that are perceptible,
    prese...
THANK YOU!

End.

Liz Danzico
liz@bobulate.com
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The Framework Age

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Emphasis has shifted from editor to reader, stories have gone from individual to social, people are relying on patterns rather than interfaces. But as we move from designing artifacts to designing systems, are there new guidelines at work? We want users to be able to control their own experiences, but how do we ensure they have the right tools to do so? In this session from Webstock 08, Liz Danzico explored what it means to design in the age of frameworks and investigated their governing principles — learning from existing models as diverse as jazz music and oral cultures.

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The Framework Age

  1. 1. ing Retro Funk BeBop Free-form Jazz BAROQUE DIGITAL Swing Something Classical Romantic Ancient wing Jazz Fusion SOUL Bebop Ballet Swing The Framework Age Free-form Jazz Retro Funk DIGITAL Hard bop ssical Tango detecting, adapting, & improvising Modal BAROQUE Classical Notes on Classical wing Free-form Jazz Big Band DIGITAL BAROQUE Retro Funk Classical Swing BeBop Retro Funk BAROQUE MIDI Third Stream DIGITAL Avant-Garde Jazz Swing Improvisation Acid Jazz Liz Danzico Ragtime Retro Funk Latin Jazz Dance Folk Music Classical Webstock 2008 Hard bop Classical Classical Jazz DIXIELAND Blues Free Jazz
  2. 2. Me: Information architect Happy Cog Editor Rosenfeld Media, A Brief Message Educator The School of Visual Arts Board member AIGA, IA Institute Emeritus Boxes and Arrows
  3. 3. You
  4. 4. Detectable Detectable Present Additive Performance
  5. 5. WHAT WE’RE TALKING ABOUT 1 Defining frameworks
  6. 6. As we made the transition from print to web, we took some of the principles with us.
  7. 7. Because we’re designing for the web, we’ve let go of some of that control.
  8. 8. http://pieaia.org
  9. 9. We’re not designing artifacts.
  10. 10. We’re not designing artifacts. We’re designing frameworks.
  11. 11. We’re not designing artifacts. We’re designing frameworks. And frameworks require users to adopt, to adapt, to improvise.
  12. 12. Framework: Provides uninscribed and detectable cues that loosely govern a set of actions or interactions
  13. 13. Interfaces are no longer telling the story; they must provide places that enable storytelling to happen.
  14. 14. Thus: users must adapt, adopt, improvise.
  15. 15. This is a story about people and technology. With music. LEARNING FROM JAZZ 2 A ordances in music
  16. 16. An aside:
  17. 17. An aside: Jazz music was a reprieve from Classical music which had dominated the last centuries.
  18. 18. Classical composition:
  19. 19. Classical music composition didn’t leave room for participation.
  20. 20. Jazz notation:
  21. 21. Courtesy Dan Cohen http://youtube.com/watch?v=2kotK9FNEYU Courtesy dancohen, YouTube (youtube.com/watch?v=2kotK9FNEYU)
  22. 22. Modal jazz leaves spaces between the notes for artists to improvise. Liberally.
  23. 23. 4 V 4q q q q q q Q Q Q
  24. 24. “You will hear something close to pure spontaneity in these performances.” — Bill Evans, Kind of Blue, pianist
  25. 25. “Creative Instability”
  26. 26. Before the advent of writing, epic storytellers relied on music patterns to pass along stories = oral tradition
  27. 27. “Composition in performance”
  28. 28. “We are witnessing the reemergence in electronic form of oral patterns that have been hiding in plain sight for generations.” — Alex Wright, Glut: Mastering Information Through the Ages
  29. 29. ONLINE EVIDENCE 3 Designing for improvisation
  30. 30. Whether sidewalks, music, or the oral tradition, there are unscripted frameworks that allow improvisation to happen.
  31. 31. Detectable Detectable Present Additive Performance
  32. 32. Detectable, or “a lot with a little”
  33. 33. 1 2 3 4
  34. 34. http://basecamphq.com
  35. 35. http://backpackit.com
  36. 36. http://geni.com
  37. 37. “That’s when I know WordPress is doing its job: when people aren’t even aware they’re using it because they’re so busy using it!” —Mark Jaquith, Automattic http://markjaquith.wordpress.com/2007/02/21/engine-awareness/
  38. 38. http://wordpress.org
  39. 39. Present, or “in real-time”
  40. 40. http://subtraction.com/archives/2006/0929_ripped_from_.php
  41. 41. http://signalvnoise.com
  42. 42. http://boxesandarrows.com
  43. 43. Additive, or “part of a whole”
  44. 44. http://abriefmessage.com
  45. 45. http://www.flickr.com/photos/library_of_congress/
  46. 46. 24 HOURS 4,000 unique tags 19,000 total tags 500 comments
  47. 47. Performance, or “the audience is always right”
  48. 48. “Miles Davis presents ... frameworks which are exquisite in their simplicity and yet contain all that is necessary to stimulate performance with sure reference to the primary conception.” — Bill Evans, Kind of Blue
  49. 49. http://virb.com
  50. 50. http://murdersandmysteries.com
  51. 51. http://weightshift.com
  52. 52. Detectable Detectable Present Additive Performance
  53. 53. HOW DO WE DO IT? 4 Tools and principles for use
  54. 54. “All art is performance art, which is to say that it is first and foremost activity. It is the act of art … that is important, not the created object.” —Christopher Small, Musicking
  55. 55. Contextual inquiry Participatory design Agile development User-centered design Participatory design Persona creation Agile development User research UCD models User-centered design Throw it against the wall Participatory design Agile development Contextual inquiry Participatory design Person creation User research UCD models Participatory design Agil development User centered design Persona creation Agile development User research UCD models User-centered desig Agile development Participatory design Contextual inquiry Persona creation Agile development User research UCD mod User centered design Participatory design Agile development Persona creation Intuition Agile development User research UCD models Paper prototyping Persona creation Persona creation Contextual inquiry User research UCD models User centered design Participatory design Agile development Contextual inquiry Design design Persona creation Agile
  56. 56. Contextual inquiry Participatory design Agile development User-centered design Participatory design Persona creation Agile development User research UCD models User-centered design Throw it against the wall Participatory design Agile development Contextual inquiry Participatory design Person creation User research UCD models Participatory design Agil development User centered design Persona creation Agile development User research UCD models User-centered desig Agile development Participatory design Contextual inquiry Persona creation Agile development User research UCD mod User centered design Participatory design Agile development Persona creation Intuition Agile development User research UCD models Paper prototyping Persona creation Persona creation Contextual inquiry User research UCD models User centered design Participatory design Agile development Contextual inquiry Design design Persona creation Agile
  57. 57. User-centered design: The needs, wants, and limitations of the end user are given extensive attention at each stage of the design process.
  58. 58. Participatory design: Actively involves users in the design process to help ensure that the product designed meets their needs and is usable.
  59. 59. “In a world that is not predictable, improvisation and evolution are more than a luxury: they are a necessity.” —Elisa Giaccardi and Gerhard Fischer, Creativity and Evolution: A Metadesign Solution
  60. 60. All the focus has been on the design process. Design Release Use
  61. 61. Not on how design evolves with use. Use Design Release
  62. 62. This is not unlike the tension between print versus the web. Compose Transmit Interpret
  63. 63. Or how we communicated prior to the advent of writing. Compose Interpret Transmit
  64. 64. User story Business requirements Rules of Build and Re- Structure Design Test Build Launch Beta Observe and Interact User needs Group and user needs Brandon Shauer, IA Summit 2006
  65. 65. Designing for improvisation: Requires a co-adaptive process between users and systems — a democratization of the creative process.
  66. 66. Music: Transition to frameworks (A gross generalization) Classical Music? Modal Jazz Bebop Improv Classical Music Time
  67. 67. User participation: Transition to frameworks Web 2.0 Flickr Facebook Yahoo! Del.icio.us User Wikipedia Participation Blogger Amazon Yahoo! eBay Time
  68. 68. Build process: Transition to frameworks (Another gross generalization) Web 2.0 Flickr Development Frameworks Facebook Yahoo! Del.icio.us User Wikipedia Participation Blogger Amazon Yahoo! eBay Time
  69. 69. Design process: Transition to frameworks Citizen Designing for Journalism improvisation Flickr Participatory design User Wikis Participation User-centered design Yahoo! Brochure Users? Portals Directory Sites Time
  70. 70. Improvisation facilitators? User Sophistication Time
  71. 71. 1 Learn from familiar models— cities, music, traditions. 2 Create frameworks that are perceptible, present-focused, additive, communal. 3 Consider new ways of working for new kinds of a ordances.
  72. 72. THANK YOU! End. Liz Danzico liz@bobulate.com
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