Johnny Holland has published my latest article, Let’s Embrace Open-Mindedness

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A few months earlier, however, I gazed at the edge of my comfort zone and decided not to cross: walking through Santa Monica we came upon the Independent Spirit Awards ceremony. Crowds of people were gathered, waiting for a glimpse of the stars. We found the serious autograph hounds who were there with portable plastic bins stuffed with headshots for signing (and reselling on eBay). It was a definite subculture: people filled each other in about the unspoken rules: what happens when a celeb approaches, when to use your Sharpie, how to hand it to them, and so on. I was fascinated but my obvious outsider/passerby status felt like a barrier. And then I saw a woman covered in tattoos, where each tattoo was a signature. I realized her particular shtick was to get autographs and then go directly to the tattoo parlor to have that autograph made permanent (the ultimate version of “I’ll never wash this hand again!”). I watched her and the group for a while, and thought about whether or not I would ask her for a picture. There was something slightly wild about her and I couldn’t figure out how to make the request. Sure, in the cold light of these pixels, it’s easy to think “What’s the worst that could happen?” but in the moment itself we may deal with it less rationally. I was actively taking pictures during my trip and I really wanted a picture of this woman but I was never able to do it. As with the cheese, I did step outside the experience for a moment, look at where I wanted to go, and decide whether I was able to cross that gulf. Here, I couldn’t.

Harley-Davidson President and CEO Jim Ziemer, Harley-Davidson Annual Report, 2007

My latest interactions column, Ships in the Night (Part I): Design Without Research? has just been published.

While user-research-eschewing Apple is everyone’s poster child for “design for yourself,” I find Harley-Davidson to be a more compelling example (although I may be comparing Apple(s) and oranges). At Harley, Willie G. Davidson is the grandson of the original Davidson. Senior vice president and chief styling officer, he is known as Willie G. And he looks exactly like a guy who rides a Harley: big, bearded, and leather-clad. If we judge a bike by its fairing, the designer is the customer. That’s part of the Harley brand: In a recent Harley-Davidson annual report, executives appear next to their bikes, and we know that they all ride. A crucial part of Willie G.’s role is to preserve the legacy of the brand; the company communicates that it is (and always has been) part of the culture for which it’s designing. People at Harley, we believe, use the products and live the lifestyle. But underneath it all is a sense that Harley-Davidson, through its history, has created the brand (i.e., the products and their meaning) in partnership with its customers. For all the tribal connectedness Apple has facilitated, the company itself is not a participant. It is a benefactor.

Get a PDF of the article here. To receive a copy of the article, send an email to steve AT portigal DOT com and (if you haven’t given us this info before) tell us your name, organization, and title. We’ll send you a PDF.

Related: Steve Portigal speaks at User Research Friday – Design and Research, Ships in the Night?

Update: Ships in the Night (Part II): Research Without Design? is now available

Other articles

• Persona Non Grata
• Everybody’s Talkin’ At Me
• The Journey Is The Reward
• Hold Your Horses
• Living In The Overlap
• Some Different Approaches to Making Stuff
• Poets, Priests, and Politicians
• Interacting with Advertising
• We Are Living in a Sci-Fi World
• On Authenticity
• The Hard Work Lies Ahead (If You Want It)
• What to Expect When You’re Not Expecting It
• Elevator Pitch
• Kilroy Was Here
• Never Eat Anything Raw
• Content, the Once and Future King

We were excited recently to see the New York Times review of Belkin’s GoStudio portable audio recorder. We led some early user research with target customers that informed Belkin’s overall strategy for this product.

Among other things, our work revealed that people didn’t associate the iPod with the high quality audio they expected a recording device to deliver. As well, the iPod is rarely seen an ingredient technology for another experience; rather most accessories add on to the iPod, and convey that message through form, finish, interface, and even their overall story. We identified that Belkin had two paths they could go by: either embrace the iPod (as in iHome and other iPoddy products) or deny the iPod (and create their own visual and task language). It’s great to see that Belkin’s final design emphasized the aesthetics of professional audio gear. In fact, the New York Times picked up on this embrace/deny tension in their headline: Another Use for the iPod – As a Memory Card.

(Updated to include audio, video, and interactions article)

Here are my User Research Friday slides, along with audio and video. For me, the discussion at the end (there was a bit of stunned first-talk-of-the-day silence during question period so I turned it around on the audience and asked them to comment on the Escher-esque slide about design->research->design->) was the most stimulating part.

Listen to audio:

I’ve turned this talk into a two-part column for interactions; Get a PDF of the first part here here and the second part here.

My fourth interactions column, Hold Your Horses, has just been published. I talk about the creative process of uncovering insights and the need for gestation and reflection time.

Get a PDF of the article here. As the interactions website only has a teaser, we’d like to offer a copy of the article. Send an email to steve AT portigal DOT com and (if you haven’t given us this info before) tell us your name, organization, and title. We’ll send you a PDF.
Other articles

• Persona Non Grata
• Everybody’s Talkin’ At Me
• The Journey Is The Reward
• Living In The Overlap
• Some Different Approaches to Making Stuff
• Poets, Priests, and Politicians
• Interacting With Advertising
• Ships in the Night (Part I): Design Without Research?
• Ships in the Night (Part II): Research Without Design?
• We Are Living in a Sci-Fi World
• On Authenticity
• The Hard Work Lies Ahead (If You Want It)
• What to Expect When You’re Not Expecting It
• Elevator Pitch
• Kilroy Was Here
• Never Eat Anything Raw
• Content, the Once and Future King

As I’ve said before, garbage in, garbage out. From Rob Walker’s Consumed

Recently, Stardoll did a study of its own, polling United States users about their brand preferences. Apparently they saw real-world brands on the same plane as the half-dozen or so invented brands that exist only within the site. (Some respondents even made the – clearly impossible – claim that they wear the strictly digital Goth-style brand Fallen Angel to school.)

These sorts of stories always crop up in market research and business case studies. And they are wonderful because they illustrate the depth of meaning the products, services, brands, and stories we create can be to the people that consume them. So meaningful that they will conflate pretend brands online and tangible experiences offline. Wow, we marvel, that tells you how great our stuff is; they will lie about it.

But the flip side to that is that if you are going to ask people what they think and do and want, you better have a way of triangulating their responses against other data. If you don’t know more about the person than their response, how can you contextualize it? If you don’t know what they are really saying when they answer the question – if they understood the question or are answering it in the way you intended – then you must be very careful in what you conclude and how you act on those answers.

Great article about Disney theme parks and the design – prototype – test – iterate – build process for a new ride, Toy Story Mania

“It is much easier and less expensive to do this before the concrete has been poured,” he added. “As rides become more complicated, your ability to tweak in the field gets harder and much more expensive.”

Across the street, in a cold, unmarked garage, Ms. Allen helped to conduct “play tests” on rudimentary versions of the ride. More than 400 people of all ages – all had signed strict nondisclosure agreements – sat on a plywood vehicle set up in front of a projection screen and played various versions of the games. Disney workers studied their reactions and interviewed them afterward.

“We were looking to see if some effects were too scary,” Ms. Allen said, “or if there wasn’t enough laughing happening during certain sequences.”

Among the discoveries: People wanted to be able to compare scores after they were finished playing, while some children had a hard time reaching the cannonlike firing controller, christened by Disney as a “spring action shooter.” Engineers added a computer screen to vehicles to display scores and installed the controls on movable lap bars.

“We were trying to find out things we didn’t even know to ask about,” said Sue Bryan, a senior show producer.

The Dutch university of Wageningen has opened a restaurant of the future

that doubles as a research lab. Cameras and other data monitoring devices will help the Center for Innovative Consumer Studies “find out what influences people: colors, taste, personnel. We try to focus on one stimulus, like light,” said Rene Koster, head of the center, as overhead bulbs switched through green, red, orange and blue.

“This restaurant is a playground of possibilities. We can ask the staff to be less friendly and visible or the reverse,” he said. “The changes must be small. If you were making changes every day it would be too disruptive. People wouldn’t like it.”

From a control room, researchers can direct cameras built into the ceiling of the restaurant to zoom in on individual diners and their plates. They watch how people walk through the restaurant, what food catches their eye, whether they always sit at the same table and how much food they throw away.

…

Koster said researchers can experiment with variables like noise, smells, furniture and food packaging. Is the same ham and cheese sandwich more appealing if it is wrapped in cellophane, under a glass cover or on offer in a vending machine?

They had already noticed that one table where the plastic chairs had pink flowery covers was always occupied.

Koster said observation is much better than questionnaires for consumer research as many choices are unconscious.

I was bemused to see that Feast of Love opened last weekend. Our last time at the movies was when The Simpsons Movie opened, and I participated in some intercept-market research at the theater.

Part of the lobby had been given over to these groovy looking kiosks, with a couple of guys in attendance, asking people who passed by if they would like to give their opinion about an upcoming movie. My age and gender qualified me to participate (woo hoo) and I went with one dude over to a kiosk. I was shown a couple of clips and responded to various questions, but the weirdness of it was that the test was designed have some screens operated by me, and some screens visible only to the interviewer. But they didn’t do it that way. So for various pieces where I was to click within multiple choices, the interviewer, who knew the testing software rather well, just whipped through the keypresses, bam->redraw, bam->redraw, quickly asking me the minimum to move to the next one. Okay, so he took care of it for me. But then this screen we were both looking at would display testing instructions such as ASK PARTICIPANT FOR OPINION OF BENEFIT OF DATE MOVIES. PROBE ON RELATIONSHIP, TIMING, COST. And of course, he wouldn’t even come close, he’d get the one line answer from me, and then he’d type in the quickest condensation of my answer: stay home.

After a minute or so, it became more about the two of us cooperating to use the software to get through test. I realized that my opinion didn’t matter; it’s hard to feel represented in a forced-choice discussion, and it’s unlikely one would continue to provide color when all that gets captured is minimal facts. Further, by exposing the instructions to me, his shortcuts became clear, and I ended up slightly co-opted into the testing process, giving up any sense of really delivering the full truth to this interviewer.

When we see “market research” number published to support some business decision, let’s keep in mind how poorly that data may have been collected (from the concept of how to collect that data, to the implementation of a data collection environment, to the staffing and execution of the data gathering). How reliable could any of this possibly be?

If you are coming to ICSID/IDSA Connecting 07 in San Francisco later this month, I’ll be giving a presentation entitled Connecting the Play of Improv with the Work of Ethnographic Research

on Friday, October 19, from 5:45pm – 6:30pm in the Fairmont Hotel, Crystal Room.

In the meantime, you can read more about an earlier version of this presentation

To the rest of us in the audience, both exercises were quite funny. Most of the participants couldn’t figure out at the time what we were laughing at.

All of which suggests that Improv is a powerful means of engaging with other human beings that is both immersive and “flow-like.”

Portigal then went on to define activities associated with ethnography, focusing on the guided interview process in particular.

He concluded his talk by identifying the key “overlaps” between the two disciplines:

* Balancing a “plan” with being in the moment
* “Yes and…” (Using positive reinforcement of the other’s statements to keep the conversation going.)

Dan Soltzberg and I will be attending the entire conference and we’d love to meet with folks to talk about how our work in uncovering user insights can help drive design and business decisions in your organization. Do let us know!