This Week @ Portigal

Welcome to the week

  • I’ve been down for the count for at least a week, with coughing fits and overall unwellness. I may have turned a corner but am trying to keep things quiet for now.
  • The book is at the printer! It should be available in about four weeks! You can sign up for notification here.
  • Last week we had a new War Story, the first one in quite a while, from Whitney Hess. I know there are more out there (someone mentioned to me at a workshop last week that they’d be working on one!) but I am not expecting anything this week.
  • There’s a few folks I’ve been putting off for weeks or even months for a chance to meetup/catch-up. Looks like this is the week!
  • Ten years gone: From March 2003 – Hussein Translator Used Fake Accent, Kiss French Horn.
  • What we’re consuming: Ramen Parlor, Fat Kid Rules The World, expectorant, The Flat

Out and About: Steve at SXSW

Recently, we spent the week in Austin at SXSW. Here’s some of the observations and other highlights from the time there.

Anne encountered the Uncanny Valley with this video-projection-on-a-human-shaped-cutout.
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In one session, I sat behind a cyborg.
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Ridiculous marketing language abounds.
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A cafe made use of physical “Like” buttons next to posted artwork. The LCD counter increments each time someone clicks the button. Curious to see interactions specific to the virtual world being replicated in the physical world. See here, previously.
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The Frito pie is made from a bag of corn chips, where the bag is ripped open and topped with chopped onions, meat, sauce and cheese.
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One really has to wonder about how complex everyday technology use can become. Even though Austin is fairly tech forward, this sign in the convention center is beyond ridiculous.
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Gourdough’s used to be just an Airstream that served the biggest donuts you’d ever seen, but now they’ve opened a proper restaurant. Most if not all of the main courses (e.g., friend chicken) feature a donut.
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Live music, including the Waco Brothers and Ian McLagan.
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And of course, there were mascots.
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Whitney’s War Story: Stories of War

Whitney Hess is the author of Pleasure & Pain, and the founder and principal of Vicarious Partners, an independent consultancy specializing in strategic user experience. She believes empathy builds empires.

I interviewed Holocaust survivors. Four words that still send shivers down my spine. Their stories were meant to shape my research; they ended up shaping me.

It was the project of a lifetime. I was asked to conduct user research for the United States Holocaust Memorial Museum with web design agency Happy Cog. Together we identified several constituents of the Museum to explore: visitors, students, teachers, scholars, activists, volunteers, donors…and survivors. Survivors of the Holocaust. I would be performing the interviews, crafting personas, and reporting on findings to the Museum’s executive board.

As a rule, when I engage with a research participant, I, Whitney Hess, cease to exist. It is a skill I have honed over many years of conducting research. I don’t get hungry, I don’t get tired, I don’t have to pee. I shed my beliefs and my assumptions and my identity. My only need is to listen. My only purpose is to absorb – with total objectivity.

Would it be possible then for me to objectively study Holocaust survivors? I am a Jew.

At first I told myself that being Jewish somehow qualified me to understand their stories and empathize with their pain. Then I feared that I would get so emotional that I wouldn’t be able to make it through an interview.

I was wrong on both counts.

I had the honor and the privilege of interviewing seven survivors – from Germany, Lithuania, Czechoslovakia, Austria, Poland, Slovakia, and Great Britain – all volunteers at the Holocaust Museum in varying capacities. Some interviews were in person at the Museum, others were over the phone. They shared their stories of survival, and they shared their feedback on the website. Both extremes were just as relevant. I listened with reverence and I asked probing questions. I was so busy taking it all in, I didn’t have time to feel anything about it. I was working.

When it came to crafting personas, I started with the teachers and students, moved on to activists and scholars, and eventually I could postpone it no longer – it was time to review my findings from the survivors.

Reading back through my notes and the interview transcripts, I maintained my composure. I kept reminding myself, You have work to do. But in a moment of weakness, I allowed myself to listen to a recording. And then another. Day became night and I was still listening. They recounted the abuse they’d endured, the brutality they’d witnessed, the family they’d lost…it was so raw, so real. I let myself go. I cried, bawled. For what they had overcome, for themselves, for their families, and for me.

In the end, I decided not to create a persona of a survivor, and my teammates and clients understood my reasoning. Their stories were unique; they could not be merged.

Instead I gleaned a few key quotes, to convey the essence of the individuals. What they had to say changed my whole perspective on what we were doing and why we were doing it. Their message had to be heard. I had to share it. I got to share it.

And it changed everything.

This Week @ Portigal

Happy Monday fellow humans,

  • It’s the first day back in the office after a while. SXSW was its usual combination of overstimulation, socialization, inspiration and meat. I’ve come back with a unappealing cough that I hope recedes before the next time I am actually meeting with people in the flesh.
  • While I’ve repeatedly referred to the conclusion of a project with some small document revisions, I was honestly a bit surprised to see another round of revision requests arrive in my inbox, while this project was for all intents and purposes completely done weeks and weeks ago. I’ll hope to be closing it of with some finality today.
  • My other refrain, especially as of late, has been about the final steps for my book. My last and final (?) task is to proofread the whole thing as they plan to go to printing on March 20!
  • Later this week I’ll be at Mozilla to lead an Interviewing 101 workshop.
  • Ten years gone: From March 2003 – early forays into online social networking (for business)
  • What we’re consuming: 20 Feet from Stardom, Politicians In My Eyes, Tern P9.

This Week @ Portigal

Welcome to the week, everyone.

  • It’s a nice lull between larger projects, which works out well as I’m spending the week in Austin at SXSW. I gave my presentation on The Power of Bad Ideas over the weekend (slides, sketchnotes); it went really well and now I’m free to enjoy Austin – friends, beer, delicious food, crazy marketing stunts, music, comedy and movies. It’s already been an inspiring few days!
  • I just approved the last illustration for my book and so I really think this is the home stretch. My part is essentially done, which is a relief!
  • Ten years gone: From March 2003 – World’s Smallest Film Festival
  • What we’re consuming: Maron, Second Bar + Kitchen, Harry Dean Stanton.

Steve interviewed by Tomer Sharon

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I was interviewed by Tomer Sharon (as part of his incredible series of interviews for It’s Our Research

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). Our conversation ranged from about why it’s hard for people to do user research, the collaboration between agency and clients, and how to think about organizational and stakeholder challenges as design problems.

The 22-minute video is embedded below.

Steve Portigal It's Our Research interview

This Week @ Portigal

It’s a March Monday, everyone….

This Week @ Portigal

Happy Monday, folks!

  • I’m on a plane now, exhausted but exhilarated. Chicago was snowy and cold but we completed a full set of interviews with fascinating and inspiring people. The team in SF also met with an equally wonderful set of folks, so we are wallowing in stories and thoughts and emergent themes. We’re diving right into analysis, expecting transcripts to be coming in – and divided up – very soon.
  • This week I’m giving an improv presentation to kickoff the creativity at Walmart’s Global UX Summit. Hopefully I’ll be able to catch up with my friends who are attending the event.
  • Some great progress on the book – I’ve seen initial PDFs and have been making corrections, meanwhile working on the introduction, finalizing imagery, arranging for a foreword and filling in the other details as the plan is to go to the printer in a few short weeks.
  • On Friday I’m wrapping up the week with a full-day training workshop on interviewing and synthesis.
  • Ten years gone: From February 2003 – The Rolling Stones use WiFi
  • What we’re consuming: La Scarola, The Americans, Uber Taxi.

This Week @ Portigal

Welcome to the week. It’s a holiday for some today but here we go…

  • Back into the field we go. We’re interviewing people at various career stages both locally and in Chicago (where I’ll be through the end of the week, hopefully not freezing my fingers off). The team is curious and enthusiastic and we’re excited about spending so much time with them and their customers.
  • A fieldwork week is pretty all-consuming so not much else to report; I’m looking ahead to next week’s improv presentation at Walmart’s Global UX Summit and to leading a full-day training workshop on interviewing and synthesis.
  • Ten years gone: From February 2003 – crazy in-flight experience, Google buys Pyra
  • What we’re consuming: California Academy of Sciences, Tom and Jerry theme song, Evil Homer.
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ChittahChattah Quickies

I gave a talk recently where I advocated for the importance of being aware of pop culture; this led to an interesting conversation (where not all parties agreed with my proposal). This set of quickies is dedicated to pop-culture-specific examples of note.

‘Les Misérables’ and Irony [NYT] – While I haven’t seen (and don’t plan to see) this movie (the stage show was enough for a lifetime), this analysis of the film’s cultural performance (and why that may explain it’s appeal to some) is pretty wonderful.

The key to what is intended by these technical choices was provided for me by Hooper himself when he remarked in an interview (also printed in USA Today) that while “we live in a postmodern age where a certain amount of irony is expected, [t]his film is made without irony.” Irony is a stance of distance that pays a compliment to both its producer and consumer. The ironist knows what other, more na?Øve, observers do not: that surfaces are deceptive, that the real story is not what presents itself, that conventional pieties are sentimental fictions.

The artist who deploys irony tests the sophistication of his audience and divides it into two parts, those in the know and those who live in a fool’s paradise. Irony creates a privileged vantage point from which you can frame and stand aloof from a world you are too savvy to take at face value. Irony is the essence of the critical attitude, of the observer’s cool gaze; every reviewer who is not just a bourgeois cheerleader (and no reviewer will admit to being that) is an ironist.

“Les Misérables” defeats irony by not allowing the distance it requires. If you’re looking right down the throats of the characters, there is no space between them and you; their perspective is your perspective; their emotions are your emotions; you can’t frame what you are literally inside of. Moreover, the effect – and it is an effect even if its intention is to trade effect for immediacy – is enhanced by the fact that the faces you are pushed up against fill the screen; there is no dimension to the side of them or behind them; it is all very big and very flat, without depth. The camera almost never pulls back, and when it does so, it is only for an instant.

Netflix to Deliver All 13 Episodes of ‘House of Cards’ on One Day [NYT] – I’m intrigued by how technology affords shifts in media consumption and then how those shifts inform the content of the media itself.

Netflix will release a drama expressly designed to be consumed in one sitting: “House of Cards,” a political thriller starring Kevin Spacey and Robin Wright. Rather than introducing one episode a week, as distributors have done since the days of black-and-white TVs, all 13 episodes will be streamed at the same time. “Our goal is to shut down a portion of America for a whole day,” the producer Beau Willimon said with a laugh. “House of Cards,” which is the first show made specifically for Netflix, dispenses with some of the traditions that are so common on network TV, like flashbacks. There is less reason to remind viewers what happened in previous episodes, the producers say, because so many viewers will have just seen it. And if they don’t remember, Google is just a click away. The show “assumes you know what’s happening all the time, whereas television has to assume that a big chunk of the audience is always just tuning in,” said Ted Sarandos, Netflix’s chief content officer.

Muzak, Background Music to Life, to Lose Its Name [NYT] – Do we mourn when a derided brand goes away? The awful experiences that brand promised us – and perhaps much much worse – still seem to be on offer. I will shed no tear.

The Muzak name – long part of the American vernacular, if sometimes as the butt of jokes – will be retired this week as part of a reorganization by its owner, Mood Media. The company is consolidating its services under a single brand, Mood, thus eliminating the Muzak name…”We have a team of music gurus, visual specialists, sound and scent-tech experts,” Mr. Abony said. “We develop compelling, consistent experiences that connect our clients with their customers. The new brand signifies the integration of the company.”

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