Are design researchers doing ethnography or just using ethnographic methods? Ethnography is about critically analysing people, cultures, processes, dynamics and contexts to understand what’s happening and why it’s happening. This means that the stories and experiences we collect – the evidence or data, if you like – aren’t necessarily the stuff of ethnography. So are we actually even doing ethnography?
I’ll talk about my experience doing ethnography in an academic context, including my year long fieldwork in Seychelles as part of my ongoing PhD work, and how I’ve seen, learnt about and experienced ethnography as a design researcher.
UX perth - Ethnographic Studies, Contextual Enquiries and other Qualitative R...Michael Palmyre
A talk with two other speakers at UX Perth on Ethnographic Studies, Contextual Enquiries and other Qualitative Research. In this talk I discussed qualitative and quantitative research; how qualitative research in my fieldwork produced valuable insights; how I used the data to get further insights and how different approaches and contexts can change what you get out of your research.
Practical Ethnography: doing ethnography in the private sectorSam Ladner
What is ethnography? Why should you do it? How does it help designers create great products? Sam Ladner, author of Practical Ethnography, gives a summary of her book to the Puget Sound SigCHI group.
Research is a conversation with focus - Lightning talkChris Spalton
I am certain that good User Research begins with empathising with the participant as a human being first and foremost. All research begins with a conversation and connection with a fellow human being, just one that has some focus. As part of an initial program to help juniors and other members of our team (developers etc) I put together this initial lightning talk to ease them into it. Something I hope to develop further over 2020.
Introduction to storytelling for experience designLiam Keogh
Storytelling is a powerful tool for communicating the methods and outcomes of Experience Design. This presentation will unpick story structure and explaining how elements such as plot, character and tone work together to formulate a cohesive and engaging tale.
I will describe how these basic elements can map to our daily tasks of communicating decisions and aid in explaining the artifacts that illustrate User Centred Design, such as journey maps and personas, but also how you can better communicate across multiple levels from peers to stakeholders.
UX perth - Ethnographic Studies, Contextual Enquiries and other Qualitative R...Michael Palmyre
A talk with two other speakers at UX Perth on Ethnographic Studies, Contextual Enquiries and other Qualitative Research. In this talk I discussed qualitative and quantitative research; how qualitative research in my fieldwork produced valuable insights; how I used the data to get further insights and how different approaches and contexts can change what you get out of your research.
Practical Ethnography: doing ethnography in the private sectorSam Ladner
What is ethnography? Why should you do it? How does it help designers create great products? Sam Ladner, author of Practical Ethnography, gives a summary of her book to the Puget Sound SigCHI group.
Research is a conversation with focus - Lightning talkChris Spalton
I am certain that good User Research begins with empathising with the participant as a human being first and foremost. All research begins with a conversation and connection with a fellow human being, just one that has some focus. As part of an initial program to help juniors and other members of our team (developers etc) I put together this initial lightning talk to ease them into it. Something I hope to develop further over 2020.
Introduction to storytelling for experience designLiam Keogh
Storytelling is a powerful tool for communicating the methods and outcomes of Experience Design. This presentation will unpick story structure and explaining how elements such as plot, character and tone work together to formulate a cohesive and engaging tale.
I will describe how these basic elements can map to our daily tasks of communicating decisions and aid in explaining the artifacts that illustrate User Centred Design, such as journey maps and personas, but also how you can better communicate across multiple levels from peers to stakeholders.
Design is as good (or flawed) as the people who make itKayla J Heffernan
Talk given at UX Australia 2016 held in Melbourne.
ABOUT THE TALK:
No one sets out to intentionally design a system that is hard to use for - or worse, excludes or discriminates against - some users. Designers are trying their best. You're probably a good person, but a human nonetheless, therefore not perfect. Design can only be as good as the people who make it. Conversely, design is as flawed as the people who make it.
ABOUT THE SPEAKER:
Kayla Heffernan is a user and experiencer of products, frustrated with mediocrity and a passionate advocate for the voice of all users. Kayla is a UX designer at SEEK and also undertaking a PhD in Interaction Design looking at digital insertables. In her spare time… she doesn’t have any.
EdiPulse: Journey from Sweat to Sweet (UX Australia 2016 talk)Rohit Ashok Khot
A common perception about exercise and chocolate is that they do not gel together. A healthy body should do regular exercise and should not indulge in sweet temptations like chocolate. I break this perception by presenting a provocative system called EdiPulse. EdiPulse turns self-monitored data from a physical activity into 3D printed chocolate treats. These treats come in a variety of form and offer a playful enjoyable reflection on one’s data and active life. As such, this work underscores two related emerging fields of interest: quantified self and food printing and blends them together to create a seamless experience. In this talk, I will take you through a journey from ‘Sweat’ to ‘Sweet’ and offer insights on designing playful experiences around food and through exciting new technologies like food printing to support the experience of being physically active.
Designing for Financial Inclusion - Sending Money HomeGabriel White
Most people in the world do not have a bank account, let alone use any kind of formal financial services. Over recent years, more efforts have been made to extend financial services to the poor to increase financial stability and improve livelihoods.
What does it mean to design tools to support financial inclusion? How do you design for people who are not familiar with financial concepts? Or have difficulty reading?
Using real project examples in Myanmar, Pakistan, Nigeria and Ghana, Gabriel will highlight the considerations that are important in designing for financial services in developing countries.
Beyond best practice: Crafting purposefully distinct experiencesAndrewUX
Best practice makes a great starting point but a mediocre end game. Why? It simply doesn’t create sustainable competitive advantage. For that you need to craft experiences that are not just well designed and seamless but experiences that are meaningful, purposeful, distinctive to the brand and - ultimately - transformative in your customers and employees lives. You need experiences that are purposefully distinct. An experience that is purposefully distinct is not just deliberately distinct but purposeful in a deep, meaningful and human way that is unique to the organisation that delivers it. This concept is particularly effective for more ambitious transformation projects - especially ones with multiple touchpoints and stakeholders - and uses storytelling to create meaning and competitive advantage in design.
How do you create a User Centred Design culture when the user doesn't even get a mention at the table? Two years ago, I made a bold career move - moving from Australia's largest UX consultancy (Stamford Interactive) where everybody was a UXer to a consultancy where UX was someone else's remit and the UX community hadn't heard or couldn't even pronounce the company's name (DiUS). My goal was to help DiUS not just build products right, but to build the right products.
In this talk I'll share my last two years at DiUS and discuss how I've tried to shift the focus from 'tech stack' conversations to conversations that talks about human centred design, design thinking, end users and customers.
It hasn't been all smooth sailing. So I'll share my approach and strategy, and delve into what has worked and what hasn't.
And as always, I'll engage the audience using some live online polling tools.
http://www.uxaustralia.com.au/conferences/uxaustralia-2016/presentation/building-the-right-products/
The music industry requires artists at the early stage of their careers to develop their own fan bases and formulate their own development and marketing plan to create enhanced awareness to move their careers forward. This session, presented at Music Biz 2015 in Nashville on May 12, looked at how artists can knowledgeably approach this challenge and empower themselves, as well as the “team” that artists need to assemble to help move their music business forward. The panel — moderated by Dave Kusek, Digital Cowboys Consulting, with panelists including Patrick Clifford, Disney Music Publishing; Stewart Halcomb and Holly Helms, The Springs; and Gerald Moss, Entertainment One Distribution — also touched on the need and the opportunity for the industry to “incubate artists” to
support future catalog development.
By WIll Evans, Director of User Experience Design, TLC Labs
"What people say is not what people do" - Cheskin
There has been a lot of hot air about "getting out of the building", and "just go talk to customers", but rarely are those statements backed up with strategic and tactical advice about HOW and WHY. Well, this talk is meant to help. Honestly, getting out of the building and talking to customers is only valuable when done right. As my old martial arts sensei used to say, "practice doesn't make perfect, perfect practice makes perfect!"
Design Ethnography is usually conducted to gain a *deep* understanding of the our target customers in order to apply a customer-centered approach to the product strategy. Design ethnography takes the position than human behavior and the ways in which people construct and make meaning of their worlds and their lives are highly variable, locally specific as well as intersubjectively reflexive.
One primary difference between ethnography and other methods of user research is that ethnography assumes that we must first discover what people actually do, the reasons they give for doing it, and just as importantly, how they feel while doing it, before we can assign to their actions and behaviors interpretations drawn from our own experiences.
Many people believe that design ethnography is only viable in the context of "Big Upfront Design", while many Agile and Lean teams believe they simply don't have the time, or that big upfront design is synonymous with waste. During this talk, we'll explore various myths, methods of ethnography, and ways in which agile or lean teams may use it to gain deeper insights into customer behaviors to create richer experiences without waste.
Questions I may answer in this talk:
What is design ethnography?
What are some of the qualitative and quantitative methods?
Isn't Design Ethnography and LeanUX contradictory?
When and where is design ethnography appropriate for teams?
Is Design Ethnography appropriate only with Big Upfront Design Research?
How can teams use Design Ethnography for sense-making?
What are the practical steps for engaging in design ethnography tomorrow?
Will Evans is the Director of User Experience Design and Research at The Library Corporation as well as TLCLabs, the enterprise innovation lab. At TLC, Will is responsible for working across the organization to create extraordinary user experiences and new product innovations.
Before TLC, he led experience design and research for TheLadders in New York City. He has over 15 years industry experience in interaction design, information architecture, and user experience strategy. His experiences include directing UX for social network analytics & terrorism modeling at AIR Worldwide, UX Architect for social media site Gather.com, and UX Architect for travel search engine Kayak.com.
Mr. Evans’ research and design has been featured in numerous publications including Business Week, The Econom
Design is as good (or flawed) as the people who make itKayla J Heffernan
Talk given at UX Australia 2016 held in Melbourne.
ABOUT THE TALK:
No one sets out to intentionally design a system that is hard to use for - or worse, excludes or discriminates against - some users. Designers are trying their best. You're probably a good person, but a human nonetheless, therefore not perfect. Design can only be as good as the people who make it. Conversely, design is as flawed as the people who make it.
ABOUT THE SPEAKER:
Kayla Heffernan is a user and experiencer of products, frustrated with mediocrity and a passionate advocate for the voice of all users. Kayla is a UX designer at SEEK and also undertaking a PhD in Interaction Design looking at digital insertables. In her spare time… she doesn’t have any.
EdiPulse: Journey from Sweat to Sweet (UX Australia 2016 talk)Rohit Ashok Khot
A common perception about exercise and chocolate is that they do not gel together. A healthy body should do regular exercise and should not indulge in sweet temptations like chocolate. I break this perception by presenting a provocative system called EdiPulse. EdiPulse turns self-monitored data from a physical activity into 3D printed chocolate treats. These treats come in a variety of form and offer a playful enjoyable reflection on one’s data and active life. As such, this work underscores two related emerging fields of interest: quantified self and food printing and blends them together to create a seamless experience. In this talk, I will take you through a journey from ‘Sweat’ to ‘Sweet’ and offer insights on designing playful experiences around food and through exciting new technologies like food printing to support the experience of being physically active.
Designing for Financial Inclusion - Sending Money HomeGabriel White
Most people in the world do not have a bank account, let alone use any kind of formal financial services. Over recent years, more efforts have been made to extend financial services to the poor to increase financial stability and improve livelihoods.
What does it mean to design tools to support financial inclusion? How do you design for people who are not familiar with financial concepts? Or have difficulty reading?
Using real project examples in Myanmar, Pakistan, Nigeria and Ghana, Gabriel will highlight the considerations that are important in designing for financial services in developing countries.
Beyond best practice: Crafting purposefully distinct experiencesAndrewUX
Best practice makes a great starting point but a mediocre end game. Why? It simply doesn’t create sustainable competitive advantage. For that you need to craft experiences that are not just well designed and seamless but experiences that are meaningful, purposeful, distinctive to the brand and - ultimately - transformative in your customers and employees lives. You need experiences that are purposefully distinct. An experience that is purposefully distinct is not just deliberately distinct but purposeful in a deep, meaningful and human way that is unique to the organisation that delivers it. This concept is particularly effective for more ambitious transformation projects - especially ones with multiple touchpoints and stakeholders - and uses storytelling to create meaning and competitive advantage in design.
How do you create a User Centred Design culture when the user doesn't even get a mention at the table? Two years ago, I made a bold career move - moving from Australia's largest UX consultancy (Stamford Interactive) where everybody was a UXer to a consultancy where UX was someone else's remit and the UX community hadn't heard or couldn't even pronounce the company's name (DiUS). My goal was to help DiUS not just build products right, but to build the right products.
In this talk I'll share my last two years at DiUS and discuss how I've tried to shift the focus from 'tech stack' conversations to conversations that talks about human centred design, design thinking, end users and customers.
It hasn't been all smooth sailing. So I'll share my approach and strategy, and delve into what has worked and what hasn't.
And as always, I'll engage the audience using some live online polling tools.
http://www.uxaustralia.com.au/conferences/uxaustralia-2016/presentation/building-the-right-products/
The music industry requires artists at the early stage of their careers to develop their own fan bases and formulate their own development and marketing plan to create enhanced awareness to move their careers forward. This session, presented at Music Biz 2015 in Nashville on May 12, looked at how artists can knowledgeably approach this challenge and empower themselves, as well as the “team” that artists need to assemble to help move their music business forward. The panel — moderated by Dave Kusek, Digital Cowboys Consulting, with panelists including Patrick Clifford, Disney Music Publishing; Stewart Halcomb and Holly Helms, The Springs; and Gerald Moss, Entertainment One Distribution — also touched on the need and the opportunity for the industry to “incubate artists” to
support future catalog development.
By WIll Evans, Director of User Experience Design, TLC Labs
"What people say is not what people do" - Cheskin
There has been a lot of hot air about "getting out of the building", and "just go talk to customers", but rarely are those statements backed up with strategic and tactical advice about HOW and WHY. Well, this talk is meant to help. Honestly, getting out of the building and talking to customers is only valuable when done right. As my old martial arts sensei used to say, "practice doesn't make perfect, perfect practice makes perfect!"
Design Ethnography is usually conducted to gain a *deep* understanding of the our target customers in order to apply a customer-centered approach to the product strategy. Design ethnography takes the position than human behavior and the ways in which people construct and make meaning of their worlds and their lives are highly variable, locally specific as well as intersubjectively reflexive.
One primary difference between ethnography and other methods of user research is that ethnography assumes that we must first discover what people actually do, the reasons they give for doing it, and just as importantly, how they feel while doing it, before we can assign to their actions and behaviors interpretations drawn from our own experiences.
Many people believe that design ethnography is only viable in the context of "Big Upfront Design", while many Agile and Lean teams believe they simply don't have the time, or that big upfront design is synonymous with waste. During this talk, we'll explore various myths, methods of ethnography, and ways in which agile or lean teams may use it to gain deeper insights into customer behaviors to create richer experiences without waste.
Questions I may answer in this talk:
What is design ethnography?
What are some of the qualitative and quantitative methods?
Isn't Design Ethnography and LeanUX contradictory?
When and where is design ethnography appropriate for teams?
Is Design Ethnography appropriate only with Big Upfront Design Research?
How can teams use Design Ethnography for sense-making?
What are the practical steps for engaging in design ethnography tomorrow?
Will Evans is the Director of User Experience Design and Research at The Library Corporation as well as TLCLabs, the enterprise innovation lab. At TLC, Will is responsible for working across the organization to create extraordinary user experiences and new product innovations.
Before TLC, he led experience design and research for TheLadders in New York City. He has over 15 years industry experience in interaction design, information architecture, and user experience strategy. His experiences include directing UX for social network analytics & terrorism modeling at AIR Worldwide, UX Architect for social media site Gather.com, and UX Architect for travel search engine Kayak.com.
Mr. Evans’ research and design has been featured in numerous publications including Business Week, The Econom
In this slideshare I briefly review the topic of ergodicity and WEIRDness in Qualitative Research. Disclaimer: Past performance is not indicative of future results.
1. Why is the relationship between Geertz and Weber, assuming thatSantosConleyha
1. Why is the relationship between Geertz and Weber, assuming that they have one?What does “semiotic” mean? What could Geertz have in mind when he says that culture is “semiotic”? How does Geertz's notion of culture differ from that given above?
2. Who was John Ryle and why is he remembered? What is the point of Geertz’s long example, adapted from the work of Gilbert Ryle, where he discusses “twitches, winks, fake-winks, parodies, [and] rehearsals of parodies” (pp. 6-7)? How would Ryle's description of a wink differ from that of Geertz? How might these twitches, winks, and so on be analyzed if we understand the study of culture as an “experimental science”? How does our analysis change if we believe that the study of culture is “interpretive”?
3. Read the passage from Geertz’s field journal (pp. 7-9) again slowly, paying attention to detail. Describe what happens in in three or four sentences. What might Geertz mean at the end of the passage when he notes “how extraordinarily ‘thick’” even such an “elemental” ethnographic description must be? What are the implications of this “thickness” for the study of communication?
- __ ., ______ r-- _________ _
() I ,--h:: v'c.l fr re ( t 2:: . l q -r:-~
il,c ~~-( ,t +zcti(.>j td: C.i"-111,c/{_~)~ ---
} -· · - f[t; L_· " t"-l '-I . ' f'")lA... ') \ C . ,)
Chapter I /Thick
Description: Toward an
Interpretive Theory of
Culture·
I
In her book, Philosophy in a New Key, Susanne Langer remarks that
certain ideas burst. upon the intellectual landscape with a tremendous
force. They resolve so many fundamental problems at once that they
seem also to promise that they will resolve all fundamental problems,
clarify all obscure issues. Everyone snaps them up as the open sesame
of some new positive science, the conceptual center-point around which
a comprehensive system of analysis can be built. The sudden vogue of
such a grande idee, crowding out almost everything else for a while, is
due, she says, "to the fact that all sensitive and active minds turn at
once to exploiting it. We try it in every connection, for every purpose,
experiment with possible stretches of its strict meaning, with generaliza-
tions and derivatives."
After we have become familiar with the new idea, however, after it
has become part Qf our general stock of theoretical concepts, our expec-
4 THE INTERPRETATION OF CUL TURES
tations are bro_ught more into balance with its actual uses, and its exces-
sive popularity is ended. A few zealots persist in the old key-to-the-uni-
verse view of it; but less driven thinkers settle down after a while to the
problems the idea has really generated. They try to apply it and extend
it where it applies and where it is capable of extension; and they desist
where it does not apply, or cannot be extended. It becomes, if it was, in
truth, a seminal idea in the first place, a permanent and enduring part
of our intellectual armory. But it no longer has the grandiose, ...
1. Why is the relationship between Geertz and Weber, assuming thatBenitoSumpter862
1. Why is the relationship between Geertz and Weber, assuming that they have one?What does “semiotic” mean? What could Geertz have in mind when he says that culture is “semiotic”? How does Geertz's notion of culture differ from that given above?
2. Who was John Ryle and why is he remembered? What is the point of Geertz’s long example, adapted from the work of Gilbert Ryle, where he discusses “twitches, winks, fake-winks, parodies, [and] rehearsals of parodies” (pp. 6-7)? How would Ryle's description of a wink differ from that of Geertz? How might these twitches, winks, and so on be analyzed if we understand the study of culture as an “experimental science”? How does our analysis change if we believe that the study of culture is “interpretive”?
3. Read the passage from Geertz’s field journal (pp. 7-9) again slowly, paying attention to detail. Describe what happens in in three or four sentences. What might Geertz mean at the end of the passage when he notes “how extraordinarily ‘thick’” even such an “elemental” ethnographic description must be? What are the implications of this “thickness” for the study of communication?
- __ ., ______ r-- _________ _
() I ,--h:: v'c.l fr re ( t 2:: . l q -r:-~
il,c ~~-( ,t +zcti(.>j td: C.i"-111,c/{_~)~ ---
} -· · - f[t; L_· " t"-l '-I . ' f'")lA... ') \ C . ,)
Chapter I /Thick
Description: Toward an
Interpretive Theory of
Culture·
I
In her book, Philosophy in a New Key, Susanne Langer remarks that
certain ideas burst. upon the intellectual landscape with a tremendous
force. They resolve so many fundamental problems at once that they
seem also to promise that they will resolve all fundamental problems,
clarify all obscure issues. Everyone snaps them up as the open sesame
of some new positive science, the conceptual center-point around which
a comprehensive system of analysis can be built. The sudden vogue of
such a grande idee, crowding out almost everything else for a while, is
due, she says, "to the fact that all sensitive and active minds turn at
once to exploiting it. We try it in every connection, for every purpose,
experiment with possible stretches of its strict meaning, with generaliza-
tions and derivatives."
After we have become familiar with the new idea, however, after it
has become part Qf our general stock of theoretical concepts, our expec-
4 THE INTERPRETATION OF CUL TURES
tations are bro_ught more into balance with its actual uses, and its exces-
sive popularity is ended. A few zealots persist in the old key-to-the-uni-
verse view of it; but less driven thinkers settle down after a while to the
problems the idea has really generated. They try to apply it and extend
it where it applies and where it is capable of extension; and they desist
where it does not apply, or cannot be extended. It becomes, if it was, in
truth, a seminal idea in the first place, a permanent and enduring part
of our intellectual armory. But it no longer has the grandiose, ...
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
24. Understanding takes time
There’s no time for deep understandings when
we’re focused on producing a ‘thing’
Production of thing Production of knowledge
4
25. 3
Understand first
Witchcraft
Understand the context to understand the needs
HEALTH
teenage pregnancy
high risk abortion
dictatorial law
paternalistic health care
IDENTITY
colonialism
creolité
negritude
slavery
individual
community
CULTURE
resistance
socialism
capitalism
racial binaries
primordial
embodied knowledge,
nature vs nurture
27. Complexity or Consumption
Millenials don’t care about
privacy and they want
everything now!
Actually, it really depends on the context and the
individual. Blanket statements like this one misrepresent
entire populations and give organisations empty findings
that lead to bad decisions.
While familiarity with a privacy-reduced, have-it-now
world may be more common among younger
demographics, it is incorrect to say that this statement
applies to all ‘young’ people. Some participants sought
time to think before signing up, and for it to be face-to-
face, as opposed to ‘instant’ and online, so they could 4
31. Takeaways
Always interpret what you collect
4
‘…there is no insight in mere facts; you must interpret them.'
- Sam Ladner -
‘What people say, what people do, and what they say they
do are entirely different things.’
- Margaret Mead -
32. Takeaways
Don’t try to understand ‘why’ at the shallow
end of the research spectrum.
4
‘Anyone can produce a new fact; the thing is to produce a
new idea.’
- E.E. Evans-Pritchard -
33. Takeaways
Start with in-depth ethnography to
understand people first.
4
‘Meaning is socially, historically, and rhetorically constructed.’
- Cliffort Geertz -
‘The only important thing about design is how it relates
to people….we respond to that which has meaning’
- Victor Papanek -
34. Don’t try to understand ‘why’ at the shallow
end of the research spectrum
4
Always interpret what you collect
Start with in-depth ethnography to
understand people first
35. 4
What we’re
doing
Designing the
right thing
Designing the
thing right
What we claim
to be doing
Designing the
right thing
Designing the
thing right
What we should
be doing
Ethnographic
megalith
Evidenced, innovative
double diamonds,