IDEO Chicago and DePaul University
Case Study—This case study provides an inside look at what occurs when methods from the data science and ethnographic fields are mixed to solve perennial customer service problems within the call center and cruise industries. The paper details this particular blend of ethnographic practitioners with a data scientist resulted in changes to design approaches, debunking myths about qualitative and quantitative research methods being at odds and altering team member perspectives about the value of both. The project also led to the creation of innovative blended design research and data science methods to discover and leverage the right customer data to the benefit of both the customer and the call center agents who serve them. This paper offers insight into the untold value design teams can unlock when data scientists and ethnographers work together to solve a problem. The result was a design solution that gives a top-performing company an edge to grow even better by leveraging the millions...
This essay offers an analysis of the “pain point,” a commonplace figure of speech in UX design and contemporary business contexts more broadly. By situating this everday trope within a wider discourse of pain, and its politiciztion in the United States, I seek to problematize the modes of relationality and forms of care entailed in the practice of design research. Ultimately, I will argue, while the “pain point” can be an effective tool for communicating with stakeholders and fomenting alignment about research objectives, it also implicates the more troubling ethical dimensions of applied practice. Through a narrative account of an innovation focused ethnographic research project conducted within the design unit of a major tech company, I argue that questions of solidarity, and its contemporary aporias, can be obscured by the humanitarian rhetoric of contemporary design praxis; a rhetoric of which the “pain point” is a prime example....
I've been reflecting on my role in the use and abuse of evidence — in the past as a radio producer and more recently as a writer in a design research company. Storytelling is held aloft as something businesses need to do more of — and be better at — but often the narratives do not belong to businesses. We are re-tellers. The work of a writer presenting design research isolates evidence from its source. There are limits to what we can do to make sure evidence is considered alongside the intention it was gathered with. I started working on this because I wanted to share my indignation at evidence I gathered being misrepresented. My editors have turned stories of triumph into stories of disaster to get more clicks. But I've noticed the similarity between my questioning of editors, and the anthropologists I work with questioning me.
Evidence exists in relation to questions. Defining the things we're curious about helps us focus, and decide which evidence to seek out. Ethnographers...
We live our lives in contexts of overlapping systems. Developing the skill to connect dots of evidence between social, ecological and economic evidence offers the potential for more effective interventions in complex challenges.
Sarah Brooks, Sarah Brooks’ teaching and design practice sits at the intersection of design research, service design, and social innovation. She currently serves as a Design Executive and Distinguished Designer at IBM.
2018 Ethnographic Praxis in Industry Conference Proceedings, p. 696, ISSN 1559-8918...
Nissan Research Center, Silicon Valley
A challenge for design research today lies in naming, knowing and accounting for people who are not direct users of our technologies, but who are nonetheless affected and compelled to interact with them in daily life. This Pecha Kucha takes us to the streets of Bogotá, Colombia, where a new bus system that was roundly rejected becomes a cautionary tale on the perils of ignoring the painpoints of ‘non-direct users.’ Drawing from pragmatist political science, I propose we can usefully understand this latter group as a ‘technological public,’ and I touch on key difficulties of designing for publics.
Laura Cesafsky is an urban geographer, transportation nerd, and Human-Centered Systems Design Researcher at Nissan Research Center in Silicon Valley. firstname.lastname@example.org
2018 Ethnographic Praxis in Industry Conference Proceedings, p. 698, ISSN 1559-8918...
EPIC2017 Platinum Panel
Moderated by: CHRIS HAMMOND (IBM)
Panelists: MARK BURRELL (IBM), MELISSA CEFKIN (Nissan Research Center), CHRISTIAN MADSBJERG (ReD Associates) & DAWN NAFUS (Intel)
Increasingly, experiences are being created that incorporate augmented intelligence, promising to make us smarter, more efficient, and more effective. Doctors can recommend more comprehensive personalized treatment plans, teachers can provide lesson plans tailored to individual students, and farmers can vary crop irrigation and fertilization cycles in response to predicted weather patterns. Human capabilities (some might say intelligence) are being augmented, aided by machine learning algorithms that interpret and find meaning in vast quantities of both structured and unstructured data.
This panel addresses challenges of doing design research in a cognitive world where predictive analytics, conversational interfaces, and augmented intelligence are core aspects of the technology solutions being designed. What skills...
By ALANNAH BERSON
How do you make 1000 designers better at research while ensuring quality and rigor at the same time?
This is the kind of challenge Martha Cotton gets tackle at work everyday as Group Design Director for Research at Fjord—and as the newest member of the EPIC Board.
“If we are going to deeply understand the people we are designing for, I’m passionate about helping my design colleagues get that understanding in the best and most efficient way. It is definitely a very fun part of my job, thinking about elevating how we do design research, and creating the tools and resources to support roughly 1000 designers around the world in their efforts to be better researchers.”
One of the reasons Martha is so passionate about mentoring and teaching future researchers is that for her, becoming an ethnographer was a bit of an accident. “I was incredibly lucky early on to have the support of mentors who patiently nurtured what has turned out to be my life’s work.” This “accidental career” that Martha found...
University of Calgary
This paper questions the role and form of ethnography in the studio setting through a comparative analysis of interviews with service and brand designers, and the promotional rhetoric of the studio organizations in which they work. It proposes that the way in which designers practice ‘ethnography’ consists of an adapted and hybrid methodological approach based not on theoretically informed data collection, analysis and interpretation, but instead of an assemblage of embodied research approaches. The ways in which designers substitute proxy audience membership, performance and praxiography for traditional ethnographic methods in their creative work and their acts of negotiation between the structural expectations of the studio organization and their own practice of cultural production are considered.
Keywords: Design Ethnography, Design Research, Methodology, Practice...
Case Study—This case study discusses the role ethnography played in fostering collaboration across two organizations during a research project. It explores how the opportunity for collaboration emerged, why it was seized upon, and what it meant for the project. The case study looks at the project challenges and mishaps and clarifies why in spite of this it is believed to be successful. It analyses the impact on people's perceptions of the project outcome and what this meant for our client.
Keywords: organizational culture, agency collaboration, design research, government...
The Kind’s Indian, Inc. Download PDF
PechaKucha—Empathy is an indispensable tool in design. But poorly executed, the application of empathetic thinking can lead to worse results. When examined more closely, empathy is problematic both in concept and in practice. Deconstructed into the component parts — compassion, sharing and mentalizing — we can begin to explore the particular nuances of empathy. Beyond the incentives of the designer, compassion, successful empathy requires the user to be able to share their experiences with the designer. Translation and articulation limits of the user can make this difficult. Designing for a pre-verbal child, for example, is extremely difficult. Finally, mentalizing, the act of the designer creating a proxy of the user’s internal state, is problematic when they do not share the same cultural foundations or basic cognitive similarities. Designers are most facile when designing for people similar to themselves. But as design anthropologists, we are tasked with creating bridges...
School of Design, The Hong Kong Polytechnic University
New social design defines “the social” rather than material things as its main design object, and builds usually on ethnographic research techniques in capturing the social. Designers use camera in their fieldwork but unlike social scientists, they build their camera practices on a variety of sources, often artistic and journalistic rather than analytic. This paper explores how new social design captures the social with photographs. It shows that the main unit of social action in photography is the design act. Place on the other hand remains a non-analytic feature that conveys the sense of having been there, but does not go deeper into the social. The most analytic constructs in photographs are diagrams and other representations. Discussion links these observations into the professionalization of design and its aesthetic rather than analytic base....
J. PAUL NEELEY
Neeley Worldwide & Royal College of Art
Extrapolation Factory & Parsons School of Design Download PDF
In our world where emerging technologies are increasingly a source of significant disruption in people’s lives, methods from Speculative & Critical Design (SCD) practice are finding their way into the designer’s and researcher’s toolkit as powerful ways to create new kinds of meaning and perspective that create new organizational value. These practices design future products and services not in a predictive way, but as a way to prototype and understand the social, cultural, and ethical implications of emerging technologies. These practices generally decouple design from short-term company product and market needs and visions, and engage in new conversations about alternative futures as a way to better understand and navigate future complexity.
SCD often works to design for the messy and complex people that we are rather than the perfect consumers...
by THOMAS WENDT, Surrounding Signifiers
“The term ‘empathy’ has provided a guiding thread for a whole range of fundamentally mistaken theories concerning man’s [sic] relationship to other human beings and to other beings in general.”
Popular design discourse is full of articles, books, and conference presentations on the role of empathy in design. In both commercial and non-commercial settings, most designers argue the same thing: designers should attempt to build empathy for “users” so they can better design for them. But empathy as it’s generally practiced ultimately subverts its own goals. It tends to reinforce “otherness”, promote anthropocentrism, and ignore ecological considerations.
I recently moved from Manhattan to Queens. My old neighborhood, NoLita (north of Little Italy…thanks, real estate agents), had fully gentrified, with storefronts quickly transforming into cold pressed juice bars ($10/cup) and men’s shaving supply stores ($25 “beard oil”). My...