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Rapid Cross-channel Prototyping
Andrea @Resmini
EUROIA 2017 Stockholm
2014
2011
this is a quick and dirty breakdown of what
we’ll do today in the 4 hours we’ll be together
quickly describe why we need a cross-channel angle
briefly detail what we mean when we
say cross-channel experience design
define the base elements of
cross-channel we can design with
learn how to apply them systemically
give it a run and see what happens
we’ll draw some conclusions at the end
in between, we’ll have coffee and something to
nibble
digitization has blurred the distinction
between products and services
digitization has blurred the distinction
between digital and physical
digitization has blurred the distinction
between producers and consumers
people freely connect competing products
and services in emergent choreographies
this is an enormous shift
the idea we can design a perfectly bounded artifact
and simply drop it inside a dynamic environment has
become an increasi...
cross-channel ecosystem design
introduces an actor-driven approach
cross-channel ecosystem design
introduces a systemic approach
actor-driven
cross-channel ecosystem design
introduces an architecture-first approach
actor-driven systemic
and a shift from a focus on products
and services to one on experiences
actor-driven systemic architecture-first
this is a radical shift
actor-driven systemic architecture-first focus on experience
but one to approach very pragmatically
actor-driven systemic architecture-first focus on experience
actor-driven systemic architecture-first focus on experience
an experience is anything an actor considers
connected to ach...
“I went through my spreadsheet, collected all the
receipts and invoices, logged in, checked what was
there, added expenses...
actor-driven systemic architecture-first focus on experience
it is not company-controlled
nor company-bounded
actor-driven systemic architecture-first focus on experience
the information architecture is the primary way
through which...
actor-driven systemic architecture-first focus on experience
focus is on the elements and their relationships
actor-driven systemic architecture-first focus on experience
there is no ecosystem without actors
simple and easy. so where’s the catch?
we humans are a bunch of pattern-makers
sense-making is primarily a storytelling mechanism
we describe experiences as lines or paths
“I went through my spreadsheet, collected all the
receipts and invoices, logged in, checked what was
there, added expenses...
lots of streamlining here
this is actually a complex experience
which has been narratively simplified
we are not told of the opportunities, wrong turns, and
distractions that were discarded along the way
need to file taxes taxes filed
need to file taxes
taxes filed
here we have an initial description of the
blended space of a cross-channel ecosystem
in which this specific experience ta...
cross-channel ecosystems are semantic
constructs that straddle digital and physical spaces,
locations, devices, people, an...
cross-channel ecosystems identify a space of
opportunity for intervention more than a finite
artifact that can or should b...
experiences are described linearly,
while ecosystems are anything but linear
“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, go...
IMDB
WHATSAPP
IMDB
WHATSAPP
IMDB
WHATSAPP
IMDB
YELP
WHATSAPP
SKATES
IMDB
YELP
WHATSAPP
SKATES
BOX OFFICE
IMDB
YELP
WHATSAPP
SKATES
BOX OFFICE
IMDB
MOVIE
YELP
WHATSAPP
SKATES
BOX OFFICE
IMDB
MOVIE
NETFLIX
BUS
YELP
RESTAURANT
SMSWEBSITE
fancy, but hardly representative of
the many possible individual paths
everyone else might decide to take
clarity only comes through compounding
many individual paths into a larger, common map
WHATSAPP
SKATES
BOX OFFICE
IMDB
MOVIE
NETFLIX
BUS
YELP
RESTAURANT
SMSWEBSITE
FRIEND’S
HOME
BUS
WHATSAPP
BOX OFFICE
MOVIE
NETFLIX
BUS
YELP
RESTAURANT
SMS
FRIEND’S
HOME
BUS
DINNER
PS4
BOARD
GAMES
PHONE
PIZZA
PLACE
WHATSAPP
SKATES
BOX OFFICE
IMDB
MOVIE
NETFLIX
BUS
YELP
RESTAURANT
SMSWEBSITE
FRIEND’S
HOME
BUS
DINNER
PS4
BOARD
GAMES
PHON...
all traditional user research methods and
especially ethnographic methods are fair game
mapping an ecosystem involves identifying a
number of primary elements and their relationships
actors, tasks, channels, touchpoints, and seams
an actor is any agent in the ecosystem
trying to achieve a future desired state
a task is any activity an actor
performs towards that state
a channel is a pervasive,
ecosystem-wide information layer
a touchpoint is an individual
point of interaction
touchpoints are vessels for information
touchpoints are medium-specific, but the
information they convey is medium-aspecific
channel
touchpoint
channels are an abstract design construct
they might reflect the formal sectioning of an
enterprise architecture model, be the result of content
analysis, or emerge...
WHATSAPP
SKATES
BOX OFFICE
IMDB
MOVIE
NETFLIX
BUS
YELP
RESTAURANT
SMSWEBSITE
FRIEND’S
HOME
BUS
DINNER
PS4
BOARD
GAMES
PHON...
movie social transport food
3
a seam is a threshold between touchpoints
while experiences should be “seamless”,
sometimes seams should be visible or perceptible
for example, when moving from
a secure to an unsecure connection
elements in an ecosystem are polymorphous
an actor could also be a touchpoint
the mapping out of these elements is the
beginning of a cross-channel design process
pragmatically, the starting point is the formulation
of an individual, social, or organizational pain
“are we increasing the
number of paying customers?”
conceptually, it’s the actors’ experience
“I listen to music when I’m driving”
interventions within an ecosystem broker between
the different instances presented by the ecosystem
itself, the actors, an...
here is where we start our learning exercise
“let’s make courses BETTER!”
“I enroll in a course because I have to”
how do we bring these together?
it’s actually a simple process
we start mapping individual paths using a rather
simple topplogical syntax
D. Willis, Intent Paths (2011) - https://www.flickr.com/photos/uxcrank/albums/72157626618631035
PERSONAL
+LOCAL+REMOTE
-REMOTE -LOCAL
TP
REMOTE LOCAL
Personal TP
Local TP
Seam
Seam
Personal TP
Local TP
PATH B
PATH A
Office Text
Text
Website Theater Kiosk Friend
Movie
Text
Text
Bus stop Bus stop Theater FriendHome
Movie
PATH D
PATH C
Home IMDB IMDB
Website
Netflix
Movie
Website Reddit App Theater BoothSchool Bike
and we create an initial draft of the ecosystem
this is accurate, but we risks focusing our attention
on linear relationship.. this is better:
LET'S DO IT
thank you
@esmini - andrea.resmini@ju.se
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
Rapid cross channel prototyping
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Rapid cross channel prototyping

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

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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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