Tracy and her younger son thinking about possibilities for books and reading devices

Our fieldwork sessions often include a piece in which we ask participants to brainstorm and fantasize about the future.

In an earlier post, we talked about the simple models we were building for the Reading Ahead interviews.

Book and device models for participatory design activity

We wanted to put something in people’s hands to help them show us what the “book of the future” and “reading device of the future” could be and do. (This fieldwork approach borrows from participatory design.)

We’ve had clients come out in the field with us and say after an interview, “That person didn’t give us any ideas,” so it’s important to clarify that we don’t expect this kind of activity to directly produce marketable ideas. Rather, it gives people another mode for expressing themselves, and it’s great for helping them communicate things which may not always be easy to verbalize, like:

• Their desires
• What they think should exist
• What problems they are trying to solve
• What seems acceptable and what seems outlandish to them
• Preferences and in what ways they would like something to be different

Chris uses the device model to help express his thoughts about navigation

Often for us, the very act of making the props for an activity suggests new ways of using them. In this case, while making a blank cover for the “future book” model, we realized that we could also make a blank inner page spread.

Holding the “book of the future” model

As it turned out, this meant that when we were done with the sessions, people had created very nice book models for us, with a cover and inner spread.

Erica’s “telescoping shopping bag” book with digital annotations, hyperlinks, and built-in dictionary

Part of the preparation for each interview session was to get the models ready with new blank paper. Here I am on the trunk of my car, prepping the models before an interview in San Francisco.

Now that the fieldwork is done, we have a great collection of models made by the people we interviewed.

Artifacts from participants’ “future book” ideation

The last section (copied below) of our Topline Summary synthesizes some of what we gleaned from this part of the fieldwork. These are just quick hits; we’ll develop any themes and recommendations that come out of these activities much further in the analysis and synthesis phase of the project.

Excerpt from Topline Summary: Participant ideation about the “book of the future” and “reading device of the future”

NOTE: The first thing a number of the participants said when asked about what the “book of the future” could be and do was that it’s pretty hard to improve on the book-it works very well the way it is. In addition to all the qualities already mentioned, books are

Instant on-off

Durable

But people did have ideas. Here are some of them:

Put yourself in the story

Leave the story for more information

Choose from alternate endings, versions

Able to morph from bigger size for reading to smaller for transporting

Book form with replaceable content: a merging of book and device, with a cover, and page-turning but content is not fixed-it can be many different books

Books that contain hyperlinks, electronic annotations, multimedia, etc.

Hide what you’re reading from others, hide annotations, hide your personal book list and lend your device to someone (with content for them)

A device that projects words that float above it, so that the reader doesn’t have to hold the device in their hands

As soon as possible after concluding fieldwork, we write a Topline Summary, in which we capture our first impressions and the ideas that are top-of-mind from being in the field.

We’re always careful to be clear about what the Topline is and isn’t. There’s synthesis that happens from the fieldwork experience itself (which the Topline captures), and synthesis that happens from working with the data (which we haven’t done yet).

In the Topline we go a step further than the field highlights and start to articulate some of the patterns we think are emerging, but these ideas may change once we do a detailed analysis and synthesis of the data we’ve gathered.

In a client project, we’ll have a discussion with the client team around the Topline Summary. We encourage members of the client team to come out in the field with us, and the Topline discussion is a great opportunity for everyone who did so to share their experiences and tell stories. The Topline discussion is also a good time for our clients to let us know if there are any specific directions they want us to pursue as we analyze and synthesize the data we’ve gathered.

We’ve now finished our fieldwork for Reading Ahead. We conducted six in-depth interviews, with photo diary and participatory design activities (more in our next few posts about these methods).

Here’s our Topline Summary:

Portigal Consulting: Reading Ahead Topline Summary

1. Reading is not just a solo activity; there are significant social/interpersonal aspects for many people

• Recommendations, book clubs, lending

• Books facilitate the interpersonal aspects of reading

  Can be easily lent or given away
  

  Given as gifts
  

  People can use a book together: parents and kids, showing someone a passage or illustrations, etc.

• Reading can be a big part of family life
  

  Childhood memories, passing books between generations, reading with one’s own children.

  Connection between home life and outside world (school)

2. Reading and Books are not always one and the same

• Erica buys some books because she likes them as objects. She knows she may not read all of them. “I love books. I almost like books more than reading.”

• Jeff says if you love to read, you’d like the Kindle. If you love books, you should try it out before you buy one

• The Kindle facilitates types of reading beyond books: blogs, articles, periodicals

3. Books do more than carry content

• Books engage the senses: they are tactile, visual objects, with specific characteristics like smell and weight
  

  Become carriers of specific memories

  Develop a patina that carries meaning

  An inscribed book becomes a record of an event, interaction, relationship

• There is an art/collector aspect to books (which is absent in the Kindle)
  

  First editions

  Signed copies

  Galley proofs

  Typography

  Pictures and illustrations

  Quality of paper, printing, etc.

• Books say something about a person
  

  Others can see what you’re reading; like clothes, etc., this carries meaning

  “Looking at someone’s bookshelves when you go to their house” (Jeff)

  When people give books as gifts they are deliberately communicating something about the relationship, the event, themselves, and the recipient

• Books can create a physical record of someone’s reading activity
  

  Chris used to line up all the books he had read to get a sense of accomplishment

  Annotations, bookmarks, tags all convey the reader’s personal history with that book

4. Books are easily shared

• Pass them along to others

• Donate to library

• Sell or buy at used book store

• Borrow from the library rather than purchasing
  

5. How books are stored and organized carries meaning

• Emotion, sense of pride, expression of personality, record of engagement

• Erica organizes her books by how the content/type of book feels to her: “dusty” classics, modern classics, etc.

• Julie’s extensive shelves are organized alphabetically to reinforce the idea of library
  

6. Libraries and bookstores provide specific experiences

• As a little girl, Erica visited different libraries with her Mom. This was their daily activity, and Erica retains strong and specific memories

• Julie and her housemate recreated a library atmosphere in their home

  A quiet, comfortable space

  Good lighting

  Alphabetized bookshelves

  A unified décor

• For Jeff and others, spending time browsing in a bookstore represents having leisure time
  

7. The Kindle

• For people whose love of reading is bound up in their love of books, the Kindle loses much of the reading experience; it is only a content carrier

• Julie has a history of wanting to read on electronic devices as well as from printed books, so to her, the Kindle is a big evolutionary step from her old Palm, the iPhone, etc.

• For Erica, the Kindle signifies “computer,” so it does not let her “unplug” from the fast-paced connected lifestyle that books provide a refuge from

• Several people described the kinetics of page-turning as an important aspect of reading books that is absent in the Kindle

• Books afford ways of navigating content that the Kindle does not: flipping, comparing non-sequential pages, looking at the recipes at the end of each chapter, etc.

• Peter finds it frustrating that when he buys a Kindle book from Amazon, he can’t share it. When he started working in an environment where people were passing books around, he went back to reading printed books
  

8. Participant ideation about the “book of the future” and “reading device of the future”

• NOTE: The first thing a number of the participants said when asked about what the “book of the future” could be and do was that it’s pretty hard to improve on the book-it works very well the way it is. In addition to all the qualities already mentioned, books are
  

  Instant on-off
  

  Durable

  But people did have ideas. Here are some of them:

• Interactive
  

  Put yourself in the story

  Leave the story for more information

  Choose from alternate endings, versions

• Size-shifting

  Able to morph from bigger size for reading to smaller for transporting

• Retain the book form while adding functionality

  Book form with replaceable content: a merging of book and device, with a cover, and page-turning but content is not fixed-it can be many different books

  Books that contain hyperlinks, electronic annotations, multimedia, etc.

• Privacy

  Hide what you’re reading from others, hide annotations, hide your personal book list and lend your device to someone (with content for them)

• Projecting

  A device that projects words that float above it, so that the reader doesn’t have to hold the device in their hands

At the house of some long-time family friends, a husband and wife express themselves through their personal spaces.

She, the Elvis Room.

He, the garage.

Books left on floor, Green Apple Books, San Francisco, CA

Notice in school bus window, Pacifica, CA

Sign, Bonny Doon, CA

Sign, San Jose, CA

Sign, San Francisco, CA

Posters, San Francisco, CA

6-panel strip on telephone pole, Chicago, IL

Related Posts:
Framed Framework/Conceptual Art
Words
The End of Things

I was in Chicago last weekend for IIT Institute of Design’s excellent Design Research Conference, and spent a day walking around the city. (I’m happy to say I can now use the term ‘Miesian’ with authority.)

I ended the day in Millennium Park eating a hot dog and looking at Anish Kapoor’s Cloud Gate sculpture.

Actually, to say I was looking at the sculpture sells the experience short. I’d seen the giant silver bean from a distance earlier that day, but once I was next to it, the combination of scale, surface treatment, and form made it such an unusual and compelling object that I couldn’t help but start interacting with it. Chicago writer Lynn Becker’s article on Millennium Park sculpture-as-architecture delves further into the interactivity of Cloud Gate.

After a few trips around and under the sculpture, I decided to sit back and watch how other people were responding to it.

I saw people

• photograph it
  
• photograph themselves with it
  
• photograph others with it
  
• have strangers photograph them with it
  
• use it as a mirror and check their makeup, hair
  
• clean it and (while being photographed) lick it
  
• fit their bodies into the smallest possible space created by the sculpture’s curves
  
• smear their fingerprints along the mirrored surface (this seemed like a form of graffiti, a recording of presence)
  
• pretend to be holding the sculpture up
  
• use it to hold them up
  
• pose suggestively on all fours next to it
  
• talk about having come there other times
  
• lie on the ground in poses to create specific tableaux in the funhouse mirror-like underside
  

It was fascinating to see how people reacted to having this functionless object placed in their midst. It struck me as a form of spatial/environmental prototyping, and I’m sure that noticing and examining what people do and what their patterns of motion around this object are and synthesizing that data could produce insights to inform many types of design.

In our research work, we periodically use objects to elicit responses from people to new concepts. Sometimes these artifacts take the form of storyboards, sometimes models, and sometimes we’ll just put something in a person’s hands to give them a starting point, something to react to. One time, I handed a person we were interviewing a CD box set that was on his coffee table, and he proceeded to talk us through a whole design for the product idea we were discussing. “It’d be smaller than this, I think the corners should be rounded, maybe this part could come off . . .”

We’ve been collaborating lately with a couple of our clients on the creation of storyboards and models for this purpose. It’s been interesting figuring out in each case the right balance of detail and abstraction; how to give people enough cues to get the basic concepts, while leaving them enough space to think about how they would like to see those concepts refined.

Of course, what gets created depends on where our client is in the development process and what we want to learn from the people we’re talking to, but I think that what I saw at Cloud Gate is a good model for what one hopes an artifact will spark in a research participant: the urge to experiment, to hypothesize, to test, to interact, to play, to see what’s possible.

Related posts:
On using objects for generative research
On noticing
On prototyping and fidelity

On a recent trip to Maui, I came across car after car, abandoned and disintegrating, on the sides of the roads.

At what point will these dumped cars become interesting historical artifacts?

How long ago were petroglyphs simply graffiti?

So much about value is a matter of framing. Has there ever been a marketing tactic more transformative than the simple passage of time?

I recently discovered the Prelinger Archives of American Ephemera-
an amazing collection of advertising, educational, industrial, and
amateur films.

For anyone into these types of artifacts, this is a veritable buffet.

Design fans, I heartily recommend checking out American Look:
a lovely piece of Chevrolet-sponsored cultural self-definition from 1958:

American Look Part One

American Look Part Two

American Look Part Three

A friend sent me this link to artist Mark Luthringer‘s website. Check out this exquisite visual cataloging of modern artifacts in the Ridgemont Typologies section of the site.

Mark Luthringer, Taillights

The Evolution of the American Front Porch
In recent times, new emphasis has been given to the cultural history and significance of the American front porch. In an effort to complement and to elaborate this emphasis, this project will attempt to define and distinguish the American front porch as an American cultural object. By exploring its evolution, from its origins to its decline, this project will not merely tell the story of the porch, but will also tell a limited story of America itself. While to many the front porch is unfamiliar, to the rest it must bring to mind a memory, experience, or actual place. This project may help to connect these cultural memories of the front porch to an understanding of the important role it has played in the national experience.

via MeFi