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. 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. 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. You
- 4. Detectable Detectable Present Additive Performance
- 5. WHAT WE’RE TALKING ABOUT 1 Defining frameworks
- 6. As we made the transition from print to web, we took some of the principles with us.
- 8. Because we’re designing for the web, we’ve let go of some of that control.
- 11. We’re not designing artifacts.
- 12. We’re not designing artifacts. We’re designing frameworks.
- 13. We’re not designing artifacts. We’re designing frameworks. And frameworks require users to adopt, to adapt, to improvise.
- 14. Framework: Provides uninscribed and detectable cues that loosely govern a set of actions or interactions
- 15. Interfaces are no longer telling the story; they must provide places that enable storytelling to happen.
- 16. Thus: users must adapt, adopt, improvise.
- 17. This is a story about people and technology. With music. LEARNING FROM JAZZ 2 A ordances in music
- 18. An aside:
- 19. An aside: Jazz music was a reprieve from Classical music which had dominated the last centuries.
- 24. Classical music composition didn’t leave room for participation.
- 25. Jazz notation:
- 26. Courtesy Dan Cohen http://youtube.com/watch?v=2kotK9FNEYU Courtesy dancohen, YouTube (youtube.com/watch?v=2kotK9FNEYU)
- 27. Modal jazz leaves spaces between the notes for artists to improvise. Liberally.
- 28. 4 V 4q q q q q q Q Q Q
- 29. “You will hear something close to pure spontaneity in these performances.” — Bill Evans, Kind of Blue, pianist
- 31. Before the advent of writing, epic storytellers relied on music patterns to pass along stories = oral tradition
- 33. “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
- 34. ONLINE EVIDENCE 3 Designing for improvisation
- 35. Whether sidewalks, music, or the oral tradition, there are unscripted frameworks that allow improvisation to happen.
- 36. Detectable Detectable Present Additive Performance
- 37. Detectable, or “a lot with a little”
- 38. 1 2 3 4
- 45. http://geni.com
- 48. “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/
- 53. Present, or “in real-time”
- 58. Additive, or “part of a whole”
- 65. 24 HOURS 4,000 unique tags 19,000 total tags 500 comments
- 67. Performance, or “the audience is always right”
- 68. “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
- 69. http://virb.com
- 75. Detectable Detectable Present Additive Performance
- 76. HOW DO WE DO IT? 4 Tools and principles for use
- 77. “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
- 78. 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
- 79. 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
- 80. User-centered design: The needs, wants, and limitations of the end user are given extensive attention at each stage of the design process.
- 81. Participatory design: Actively involves users in the design process to help ensure that the product designed meets their needs and is usable.
- 82. “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
- 83. All the focus has been on the design process. Design Release Use
- 84. Not on how design evolves with use. Use Design Release
- 85. This is not unlike the tension between print versus the web. Compose Transmit Interpret
- 86. Or how we communicated prior to the advent of writing. Compose Interpret Transmit
- 87. 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
- 88. Designing for improvisation: Requires a co-adaptive process between users and systems — a democratization of the creative process.
- 89. Music: Transition to frameworks (A gross generalization) Classical Music? Modal Jazz Bebop Improv Classical Music Time
- 90. User participation: Transition to frameworks Web 2.0 Flickr Facebook Yahoo! Del.icio.us User Wikipedia Participation Blogger Amazon Yahoo! eBay Time
- 91. 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
- 92. 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
- 93. Improvisation facilitators? User Sophistication Time
- 97. 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.