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Rapid cross channel prototyping

Workshop at EuroIA 2017 in Stockholm.
New and updated mapping techniques

Rapid cross channel prototyping

  1. 1. Rapid Cross-channel Prototyping Andrea @Resmini EUROIA 2017 Stockholm
  2. 2. 2014
  3. 3. 2011
  4. 4. this is a quick and dirty breakdown of what we’ll do today in the 4 hours we’ll be together
  5. 5. quickly describe why we need a cross-channel angle
  6. 6. briefly detail what we mean when we say cross-channel experience design
  7. 7. define the base elements of cross-channel we can design with
  8. 8. learn how to apply them systemically
  9. 9. give it a run and see what happens
  10. 10. we’ll draw some conclusions at the end
  11. 11. in between, we’ll have coffee and something to nibble
  12. 12. digitization has blurred the distinction between products and services
  13. 13. digitization has blurred the distinction between digital and physical
  14. 14. digitization has blurred the distinction between producers and consumers
  15. 15. people freely connect competing products and services in emergent choreographies
  16. 16. this is an enormous shift
  17. 17. the idea we can design a perfectly bounded artifact and simply drop it inside a dynamic environment has become an increasingly difficult proposition
  18. 18. cross-channel ecosystem design introduces an actor-driven approach
  19. 19. cross-channel ecosystem design introduces a systemic approach actor-driven
  20. 20. cross-channel ecosystem design introduces an architecture-first approach actor-driven systemic
  21. 21. and a shift from a focus on products and services to one on experiences actor-driven systemic architecture-first
  22. 22. this is a radical shift actor-driven systemic architecture-first focus on experience
  23. 23. but one to approach very pragmatically actor-driven systemic architecture-first focus on experience
  24. 24. actor-driven systemic architecture-first focus on experience an experience is anything an actor considers connected to achieving a desired future state
  25. 25. “I went through my spreadsheet, collected all the receipts and invoices, logged in, checked what was there, added expenses, and filed my taxes”
  26. 26. actor-driven systemic architecture-first focus on experience it is not company-controlled nor company-bounded
  27. 27. actor-driven systemic architecture-first focus on experience the information architecture is the primary way through which we can make sense of the experience
  28. 28. actor-driven systemic architecture-first focus on experience focus is on the elements and their relationships
  29. 29. actor-driven systemic architecture-first focus on experience there is no ecosystem without actors
  30. 30. simple and easy. so where’s the catch?
  31. 31. we humans are a bunch of pattern-makers
  32. 32. sense-making is primarily a storytelling mechanism
  33. 33. we describe experiences as lines or paths
  34. 34. “I went through my spreadsheet, collected all the receipts and invoices, logged in, checked what was there, added expenses, and filed my taxes”
  35. 35. lots of streamlining here this is actually a complex experience which has been narratively simplified
  36. 36. we are not told of the opportunities, wrong turns, and distractions that were discarded along the way
  37. 37. need to file taxes taxes filed
  38. 38. need to file taxes taxes filed
  39. 39. here we have an initial description of the blended space of a cross-channel ecosystem in which this specific experience takes place
  40. 40. cross-channel ecosystems are semantic constructs that straddle digital and physical spaces, locations, devices, people, and contexts
  41. 41. cross-channel ecosystems identify a space of opportunity for intervention more than a finite artifact that can or should be fully managed
  42. 42. experiences are described linearly, while ecosystems are anything but linear
  43. 43. “I wanted to go to the movies, so I checked IMDB, DM’ed a friend, no Netflix, tried to book dinner, skated all the way, got tickets, enjoyed killer clowns”
  44. 44. IMDB
  45. 45. WHATSAPP IMDB
  46. 46. WHATSAPP IMDB
  47. 47. WHATSAPP IMDB YELP
  48. 48. WHATSAPP SKATES IMDB YELP
  49. 49. WHATSAPP SKATES BOX OFFICE IMDB YELP
  50. 50. WHATSAPP SKATES BOX OFFICE IMDB MOVIE YELP
  51. 51. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE
  52. 52. fancy, but hardly representative of the many possible individual paths everyone else might decide to take
  53. 53. clarity only comes through compounding many individual paths into a larger, common map
  54. 54. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE FRIEND’S HOME BUS
  55. 55. WHATSAPP BOX OFFICE MOVIE NETFLIX BUS YELP RESTAURANT SMS FRIEND’S HOME BUS DINNER PS4 BOARD GAMES PHONE PIZZA PLACE
  56. 56. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE FRIEND’S HOME BUS DINNER PS4 BOARD GAMES PHONE PIZZA PLACE WHATSAPP SKATES BOX OFFICE IMDB MOVIE YELP WHATSAPP BOX OFFICE IMDB MOVIE BUS SMSWEBSITE
  57. 57. all traditional user research methods and especially ethnographic methods are fair game
  58. 58. mapping an ecosystem involves identifying a number of primary elements and their relationships
  59. 59. actors, tasks, channels, touchpoints, and seams
  60. 60. an actor is any agent in the ecosystem trying to achieve a future desired state
  61. 61. a task is any activity an actor performs towards that state
  62. 62. a channel is a pervasive, ecosystem-wide information layer
  63. 63. a touchpoint is an individual point of interaction
  64. 64. touchpoints are vessels for information
  65. 65. touchpoints are medium-specific, but the information they convey is medium-aspecific
  66. 66. channel touchpoint
  67. 67. channels are an abstract design construct
  68. 68. they might reflect the formal sectioning of an enterprise architecture model, be the result of content analysis, or emerge from the project’s own goals
  69. 69. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE FRIEND’S HOME BUS DINNER PS4 BOARD GAMES PHONE PIZZA PLACE WHATSAPP SKATES BOX OFFICE IMDB MOVIE YELP WHATSAPP BOX OFFICE IMDB MOVIE BUS SMSWEBSITE
  70. 70. movie social transport food 3
  71. 71. a seam is a threshold between touchpoints
  72. 72. while experiences should be “seamless”, sometimes seams should be visible or perceptible
  73. 73. for example, when moving from a secure to an unsecure connection
  74. 74. elements in an ecosystem are polymorphous
  75. 75. an actor could also be a touchpoint
  76. 76. the mapping out of these elements is the beginning of a cross-channel design process
  77. 77. pragmatically, the starting point is the formulation of an individual, social, or organizational pain
  78. 78. “are we increasing the number of paying customers?”
  79. 79. conceptually, it’s the actors’ experience
  80. 80. “I listen to music when I’m driving”
  81. 81. interventions within an ecosystem broker between the different instances presented by the ecosystem itself, the actors, and the designers’ own vision
  82. 82. here is where we start our learning exercise
  83. 83. “let’s make courses BETTER!”
  84. 84. “I enroll in a course because I have to”
  85. 85. how do we bring these together?
  86. 86. it’s actually a simple process
  87. 87. we start mapping individual paths using a rather simple topplogical syntax
  88. 88. D. Willis, Intent Paths (2011) - https://www.flickr.com/photos/uxcrank/albums/72157626618631035
  89. 89. PERSONAL +LOCAL+REMOTE -REMOTE -LOCAL TP
  90. 90. REMOTE LOCAL
  91. 91. Personal TP Local TP Seam
  92. 92. Seam Personal TP Local TP
  93. 93. PATH B PATH A Office Text Text Website Theater Kiosk Friend Movie Text Text Bus stop Bus stop Theater FriendHome
  94. 94. Movie PATH D PATH C Home IMDB IMDB Website Netflix Movie Website Reddit App Theater BoothSchool Bike
  95. 95. and we create an initial draft of the ecosystem
  96. 96. this is accurate, but we risks focusing our attention on linear relationship.. this is better:
  97. 97. LET'S DO IT
  98. 98. thank you @esmini - andrea.resmini@ju.se

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