Interviewing Users is now available. Get your copy here!

It’s been six months (whaa???) since Interviewing Users came out! Below is a roundup of links to various bits connected with the book. I’ll republish this regularly with accumulated updates.

The Book

• Buy from Rosenfeld Media
• Buy from Amazon
• Foreword by Grant McCracken
• Excerpt from chapter 2
• The cover
• Acknowledgements
• FAQ
• Testimonials
• Images and diagrams

Reviews

• How To Interview Your Users And Get Useful Feedback by Garrett Moon, Founder of TodayMade
• Reviews on Goodreads
• QRCA (Qualitative Research Consultants Association) Views Magazine (PDF)
• Reviews on Amazon
• Why You Should Read ‘Interviewing Users’ by Steve Portigal

Interviews

• New: UX Magazine
• UX Matters
• UIE Book Corner (audio)
• 33 voices (audio) [summary slidedeck]
• UX Booth part 1, part 2
• Business 901 (audio)
• Huffington Post
• Ethnography Matters (and in Spanish)
• Interview with Denise Lee Yohn (audio)
• Classic: The User Experience podcast with Gerry Gaffney
• Classic: Steve speaks with Jared Spool about field research
• Classic: SpoolCast:
  Steve Portigal’s Interviewing Tips

Presentations

• IXDA Los Angeles/LA UX Meetup – slides, video, alternate video, tweetstream
• O’Reilly webinar recording

Other

• New York book launch party
• San Francisco book launch party
• Answers to questions from readers of the Usabilla blog
• War Stories
• Susan Dray’s reflections on the impact of the War Stories

Steve presented an O’Reilly webcast Interviewing Users (slides/recording at the link; Twitter summaries here

and here).

It’s Fall-Back Monday. What the heck time is it?

• Coming up, I’m going to be doing a free O’Reilly webcast Interviewing Users: Uncovering Compelling Insights on November 21. Sign up at the link.
• Out-and-about this week, I’ll be at Brenda Laurel’s book launch for Computers as Theatre, Second Edition.
• Ten years gone: From November 2003 – Kate Pierson has her own motel, TAMALA 2010: A Punk Cat in Space.
• What we’re consuming: Levon Helm, standard time, Momiji, BrainWash Cafe.

StoryCorps is “an independent nonprofit whose mission is to provide people of all backgrounds and beliefs with the opportunity to record, share, and preserve the stories of our lives.” And they’ve just turned 10. Founder Dave Isay reflects

It was about a year into this thing when I began to, I think, fully understand the power of this very, very simple idea and decided to devote the rest of my life to building it into something that I hope eventually in this country moves the needle on getting people to listen to one another.

Yes, that’s right, an organization that is nominally about getting people to tell stories is really seeking to improve listening. Storytelling has that power; it leads to listening. The fuel for listening isn’t silence, it’s stories.

When I spoke recently in Los Angeles I was interviewed by Luke Swenson of Media Contour.

The interview has been published on UX Magazine.

When should our clients invest in user research?

There are two things that you should watch for that can indicate it’s time. One is when you realize that you don’t know the answer to an important question. For instance, maybe you’re not sure who you’re targeting with a product or service. The second one is more difficult: it’s when you believe you have the problem already solved but you’re operating without any type of humility—you’re believing your own hype, so to speak. You’re making assumptions without any facts or evidence to back up those assumptions.

Here’s a site that aims to address a single specific need. Does The Dog Die? helps helps viewers avoid (presumably) distressing pet violence in their film diet. While it’s far from exhaustive, it lists a number of films, and codes them as follows

The site is simply an alphabetic list of titles, each coded with the appropriate legend.




Clicking in to a title gives slightly more detail – “an explanation which will only contain spoilers relevant to the fate of pets (and occasionally other animal characters) in the film.”

In the 90s, conceptual artists Komar and Melamid used focus groups and opinion-polls (then-current tools used in politics) to identify the best attributes of a painting, then created works that matched those criteria.

So why not apply something similar to film? The New York Times tells us all about it (although this is more about correlating with sales data than opinion data, it pursues the same conclusion – without irony here – that a combination of the right elements assembled together will create a successful whole).

A chain-smoking former statistics professor named Vinny Bruzzese has started to aggressively pitch a service he calls script evaluation. For as much as $20,000 per script, Mr. Bruzzese and a team of analysts compare the story structure and genre of a draft script with those of released movies, looking for clues to box-office success. His company, Worldwide Motion Picture Group, also digs into an extensive database of focus group results for similar films and surveys 1,500 potential moviegoers.

“Demons in horror movies can target people or be summoned,” Mr. Bruzzese said in a gravelly voice, by way of example. “If it’s a targeting demon, you are likely to have much higher opening-weekend sales than if it’s summoned. So get rid of that Ouija Board scene.”

Bowling scenes tend to pop up in films that fizzle, Mr. Bruzzese, 39, continued. Therefore it is statistically unwise to include one in your script. “A cursed superhero never sells as well as a guardian superhero,” one like Superman who acts as a protector, he added.

While our collective techo-optimism leads us to expect – and create – technology-driven experiences (say, bots) of all types that represent our best selves. But to be more realistic we need to consider a wide range of interaction styles. Enter Awkward Chatbot, a site that effectively simulates the disengaged, ineffective and well, awkward, interactions that characterize instant messaging.

earlier

You: Do you have anything to tell the readers of All This ChittahChattah?

Chatbot: are you like mad at me or something lol

Sigh.

A provocative survey article on Edible Geography explores the form that food (specifically Chicken McNuggets and cheese) is presented in.

It’s a safe bet that McNugget morphology tells us something important about the sensory framework through which we experience the world. Within the constraint of basic economic considerations (shapes that can be made on the same line and ship well), the bell, bow-tie, ball, and boot are sculptures made by our mouths-ubiquitous, finely-tuned artifacts that reflect by our increasingly sophisticated understanding of human sensory perception.

Early in my career we talked a lot about how digital technology was changing the range of possibility. Form didn’t have to follow function. Industrial designers could make digital cameras (an example early project where we grappled with the form factor for the device and the metaphor/mental model for the software) look like anything.

Apple’s original QuickTake 100 camera took advantage of that freedom.

It was not a successful product; the form (and it’s lack of traditional camera references) was certainly not the only reason, but that product might represent some of the most extreme of early experimentation. Now our digital cameras look pretty much like the film cameras they’ve fully displaced. At the same time, revolutionary (e.g., digital) products can seen as making culture (e.g,. cell phones as the new concert arena lighter) as much as reflecting it.

The story of the Lytro camera, more recently, suggests that it too is trying to introduce a revolution into a staid category (the aforementioned digital camera), and it’s form announces that it’s somehow different.

I can’t help but assume the packaged and processed foods people have a lot more data and a much more refined (if you will) understanding of what forms connote and how they motivate. If they are speaking to our liminal behaviors and our reptile-brain sensory processing then they are able to use that to their advantage when other forms of design can’t, at least not yet.

A report from a University of Guelph study explains that

People are more likely to spend dirty, crumpled currency and hold on to new bills. [But] in social situations, people reach for new bills even when they have older higher-denomination currency on hand.

Researcher Theodore Noseworthy explains

We tend to regard currency as a means to consumption and not a product itself. It should not matter if it’s dirty or worn because it has the same value regardless. But money is a vehicle for social utility, and it’s subject to the same inferences and biases as the products it can buy.

This suggests some design opportunities for digital money. I recently tried Square’s new service that lets you email cash to anyone (US only). The user experience was so minimalist and utterly delightful – and such a change from the dirge of PayPal (even without the frequent frustrations). If I’m sending someone an experience as part of sending them money, the quality of that experience may be something to consider (also, it’s free; also it’s a good experience for me as the sender).