There is a chain called TJ Hughes in parts of Europe, so they swapped out the J for a K in order to prevent confusion.

KitKat deathmatch?

Most charming packaging, ever!

Dublin doors.

The classic, interpreted two ways.

Viking marketing.

Differentiation?

Damn right it hurts.

Local retail aesthetics.

Treasures in the trash.

You can’t understate the prominence (relevance?) of Guinness

The Museum of Natural History. A big, big room crammed with more dead stuffed animals than you possibly imagine.

Rolling advertisements.

Occupy and social media.

Thin Lizzy’s Phil Lynott.

Aspiration meets reality.

Local hero Colm Meaney.

Why, indeed?

The Liffey at night.

Samuel Beckett Bridge.

Services you didn’t know you needed.

Zipperman.

I’ve read about airlines letting passengers choose their seats using social media profiles and finally got to experience a digital/analog collision first hand on our Virgin America flight. I accepted the offer from 12A (aka Vinnie)  to chat. Admittedly, I never talked to that stranger as I was engrossed in an inflight film.

I was not surprised by the proliferation of celebrity endorsements in every eating and dining establishment that we entered. I was surprised by what constitutes celebrity.

Dear lucky owner of this gorgeous Manhattan Beach home overlooking the ocean, thank you for using your prime position to promote a message of peace (in 4 different languages).

I am so fond of legacy establishments (like Pink’s Hot Dogs) that make explicit the rules of how to be a customer. I’m also fond of people like Julie’s dad, who insist that we stop at such locations to relive childhood memories when we are in town!

Julie and I both captured images from this Burbank dry cleaners. She focused on the environmental sustainability while I was enamored by the sustainability of their service!

Clad in familiar brands (LA Lakers, Spongebob Squarepants, USA), this pile of patriotic aliens comes across as just another family of worn-out tourists.

The face, three ways.

Upper left is a riff on Shepard Fairey’s original Andre The Giant Has A Posse sticker. This one reads “Chopstick Charlie has one crazy posse,” then lists Chopstick Charlie’s dimensions at 5′ 11″ 150 lbs. (Note: If you are easily offended definitely do not look too closely at the nose and lips stickers).

I discovered a moment of serenity and geometry in the midst of the madness.

Magritte and the Surrealists are clear influences here.

It’s all about the body.

The neon juxtaposed with this message of environmental consciousness comes off as deliberate irony! See Tamara’s Out and About: LA for her shot of this unique dry-cleaning establishment.

We are all back in the office this week (starting tomorrow).

• Steve returns today from an enlightening and exhausting experience at Interaction 12 in Dublin. I can’t wait to hear about the Student Design challenge results and every other amazing detail. In the meantime, I am happily consuming the pictures he took in Dublin.
• Julie and Tamara are back from an inspiring week of fieldwork in LA. We will be busy downloading, uploading, unpacking, repacking, refreshing, etc. as we prepare for round two of fieldwork in NYC next week.
• Steve is meeting with another studio this week to explore combining forces for a new client opportunity.
• Tamara continues to search for visual thinking tools and inspiration- focusing this week on reviewing a presentation from Interaction 12 by Jason Mesut and Sam ‘Pub’ Smith about sketching interfaces.
• Julie is rocking her project management super heroine powers on another project we have kicked off and will be working on this month.
• Tamara was lamenting the lack of actual dance moves by Madonna during yesterday’s Super Bowl half time show until I revisited her first music video for the song Everybody. Now I’m just thinking the more things change, the more they stay the same.

Here’s to the future. And the past.

Have a great week!

This is awkward on so many levels. Of course there is the bizarre act of turning a fine cut of meat into a hot dog. Most troubling for the polyglot in me is the collision of cultures and languages: Kobe Beef is a Japanese culinary delicacy, it’s offered American Style, it’s touted as the Ultimate Haute Dog bringing French into the conversation and, wait a minute, it’s also a Gourmet Frankfurter so willkommen Germany! I’m sitting here wondering if I am supposed to consume this dog raw or put it on a bun and add ketchup, dijon, or sauerkraut.  Mon dieu!

It might appear, on first glance, that this homeowner wants to sell you some fresh eggs. On second glance you might notice that spray-painted notice on the gate that you are absolutely not welcome. Missing from the image is the front porch, apparently a welcoming halfway house for transient felines. If ever I wanted to buy some fresh eggs (hen’s) here, I wouldn’t even know where to begin my purchase journey. I am considering offering some customer service design advice but seriously doubt it would be welcome.

Dear Fresh & Easy, I trust that you have access to some stellar check-out technology. You must; you have all but eliminated the need for any employees at the check-out and empowered me, the consumer, with this task! I typically don’t mind this activity (or I outsource it to my son, who loves to do it)  except when it ain’t easy. Allow me to clarify: When the scanner won’t read a UPC code because the sticker has been wrapped unreadably around a package and I have to enter that code and that code is 24-characters long, that is not easy. Also, when I have two of these poorly stickered items and you don’t offer me the chance to enter a quantity so I have to enter the 24-character code twice, that is so not easy I start referring to you as Fresh & Fiercely Annoying.

• Julie and Tamara are in LA with our client team for the rest of the week, interviewing consumers and professionals (we can’t say what type of professionals they are but from what we’ve learned about them in setting up the interviews, they are highly accomplished) – no doubt all the interviews will be utterly fascinating
• Steve is in Dublin, co-leading a two-day masterclass for the IxDA Student Design Challenge – we’ve got a really great agenda for the class with some special guests – and some really wonderful prizes (thank you generous sponsors!)

Followers of this blog will know I love taking pictures of curious and interesting things that I see everywhere, but it’s much harder – and not always appropriate – to take pictures of the curious and interesting people that I see everywhere. Indeed, in true Heisenberg fashion, you can’t always get the picture you’d want if you have to interact.

Anyway, visiting New York and walking through Times Square, I came upon people promoting Carrie Fisher’s “Wishful Drinking.” They were dressed as parodies of the book cover, with Fisher as Leia. At two separate points, I asked these hawkers if I could take their pictures.

Well, sure. It’s New York. It’s Times Square, thick with tourists, and these people are calling attention to themselves for promotion. All those cues shift the norm and make it reasonable/comfortable/appropriate/possible to do something that we don’t normally do: asking “Hey, can I take your picture?” That’s probably why I have so many photos taken with Shrek, Mr. Peanut, an Animaniac, the Monster.com monster – there’s something delightful and ironic about this staged naturalism, as if yes, I am hanging out here with my arm casually thrown around a 6-foot be-monocled legume. The opportunity to ask for a picture is so built-in to our scripts that it seems a crime to not get the picture!

Also see: The bear that saluted me

Not Quite Smart Enough [NYT] – Smart appliances are back, yet again! Engineers are crammed atop happily dumb products because, well, because they can. The classic of course is the Smart Fridge, the result of jetpack-denied technologists channeling their rage. We’ve heard the use cases over and over again, we aren’t that interested (are we?) but comically, that doesn’t seem to stop them. From past work, I believe there some wonderful opportunities for technology to have a meaningful impact in domestic chores, but this repetition of an undesirable product just isn’t it. Bonus funny/sad: Mike Kuniavsky’s 2008 blog post looks at the history of these ridiculous things. /SP

Still, there are differences in what is offered this time around — especially in the role of smartphones, which were not widely on the market a decade ago. In addition, even if the idea of a connected home, controlled by a smart electrical grid, is years off, it is more than just a pipe dream. For now, though, manufacturers are promoting the high-tech gizmos on their smart appliances, rather than focusing on the potential for being a cog in a smart grid. Samsung offers a French-door refrigerator with an LCD screen and its own apps, allowing consumers to check the weather, browse the Web for recipes, listen to music and keep tabs on what is in the refrigerator. The 28-cubic feet, four-door refrigerator costs about $3,500. LG is introducing a refrigerator that allows consumers to scan a grocery receipt with their smartphone so that the refrigerator can track what is inside. So if you buy some chicken, for instance, the refrigerator will keep tabs on when you bought it and tell you when it is about to expire. If you have chicken, broccoli and lemons in your refrigerator, it will offer recipes that include those three ingredients, even narrowing recipes based on specific dietary needs and goals. Several manufacturers are introducing washers and dryers equipped with Wi-Fi that alert consumers on their television or smartphone when a load is done, and gives them the option of fluffing towels for another 10 minutes or adding a rinse cycle. LG’s robotic smart vacuum can be told, again, through a smartphone, to clean up the living room. And since it’s equipped with a built-in camera, its owner can secretly watch what the nanny is doing, too.

Tenured Professor Departs Stanford U., Hoping to Teach 500,000 Students at Online Start-Up [The Chronicle of Higher Education] – Last week we explored the innovative physical learning environment at the Swedish Vittra school. This week we learn that the future of educational institutions may involve abandoning the halls of the academy entirely in favor of virtual pedagogy and entrepreneurial ventures. Is the university destined for obsolescence? Freelance online classes challenge the value proposition (and often prohibitive cost) of a university degree by offering affordable alternatives that connect teachers who are motivated to share knowledge with students who are eager to learn and apply it, regardless of location. This reminds me of a recent Kickstarter project I funded called Don’t Go Back to School: A handbook for learning anything. For $25 I am getting a whole course and textbook on independent learning. Bargain! /TC

During his talk, Mr. Thrun explored the origins of his popular online course at Stanford, which initially featured videos produced with nothing more than “a camera, a pen and a napkin.” Despite the low production quality, many of the 200 Stanford students taking the course in the classroom flocked to the videos because they could absorb the lectures at their own pace. Eventually, the 200 students taking the course in person dwindled to a group of 30. Meanwhile, the course’s popularity exploded online, drawing students from around the world. The experience taught the professor that he could craft a course with the interactive tools of the Web that recreated the intimacy of one-on-one tutoring, he said.

Interactive film, Bear 71, blurs lines between wild and wired [Montreal Gazette] – News articles on this work, currently showing at Sundance, have difficulty classifying it. Is it a film? A documentary? An interactive experience? Multi-media project? All-encompassing digital experience? An interactive film? Akin to Steve’s comments on smart-appliances above, the interactive multi-media experience has also been around for awhile – remember ye olde CD-ROM? This project, however, is doing more than just using technology to give viewers some ownership and direction in the story-telling. The film-makers seem very tuned in to the philosophical implications of inserting all this technology into a very natural environment, and conscious of the irony of their ambition to use technology to bring us closer to our animal state, despite their claims that technology is the very thing drawing us away from that state. Bear 71 official site. /JN

Enter Jeremy Mendes, a Vancouver-based artist and three-time Webby Award winner with a special talent for interactive work. “I drove out to Alberta and met Leanne [Allison], and when I saw these images, I knew right away that it was bizarre: It was surveillance equipment, essentially. These are the same cameras we use on ourselves. They’re the same cameras in Times Square and 7-11,” says Mendes. “I thought, ‘This is a technology story about us and this bear.’” “We prepared an outline and did all the research, and realized this was a story about communication. It’s about the communication humans use, and the communication animals use,” says Mendes… Call it the natural bulletin board, or deciduous Internet, but the scents tell each animal’s story to other animals — very much the same way we use Facebook of Twitter to keep tabs on other humans. “Humans probably had the same ability to understand that information before technology removed us from the natural world,” says Allison…It’s such a different approach to filmmaking and art, that it may take a while for the average Joe or Jane to take it all in, but that’s kind of the point: We’re only half-awake to our animal nature, and all our ambient technology only serves to shove us deeper and deeper into a state of instinct denial.

Consider first the name that the computer industry assigned to it: word processor. The obvious analogy is with the food processor, a motorised culinary device that reduces everything to undifferentiated mush. That may indeed have been the impact of Word et al on business communications, which have increasingly become assemblies of boilerplate cliches. But that’s not been the main impact of word processing on creative writing, which seems to me to be just as vibrant as it was in the age of the typewriter or the fountain pen. But has word processing changed the way we write?…The most interesting academic study I looked at found that writers using computers “spent more time on a first draft and less on finalising a text, pursued a more fragmentary writing process, tended to revise more extensively at the beginning of the writing process, attended more to lower linguistic levels [letter, word] and formal properties of the text, and did not normally undertake any systematic revision of their work before finishing”.

How to Write [Barnes & Noble] – Distractions are obviously distracting, but also extremely critical to the writing process. It’s funny because it’s true!

Step Two: Seltzer. Doesn’t a tall class of icy cold seltzer sound delicious right now? Maybe with a slice of lime? Your lack of seltzer is no doubt what’s holding you back from greatness. If only you had seltzer, then the words would pour out of you…like seltzer out of a seltzer bottle and maybe just as bubbly. Check the fridge. Maybe there’s still some club soda from the New Year ‘s Eve party. Is club soda the same as seltzer? What club served it first? That’s a pretty boring club. Am I right? Hahaha…yeah.

Here’s what we are looking forward to…

• After bidding a fond farewell to Etta James last week, this week we will lovingly remember two completed projects with a team debrief + reflection.
• Tamara and Julie are preparing for fieldwork next week in LA (woot! woot!). Let us know if there is anything particularly fantastic we should try to squeeze in, though we will of course be pretty darn busy.
• Steve is in the final week of preparation for Interaction 12 in Dublin (another woot! woot!) and getting everything in order for the Student Design Challenge.
• Steve is writing his book about the Art and Craft of User Research Interviewing and Tamara will be interviewing him about writing. Stay tuned for highlights…
• Steve continues some interviews for the Omni project. Did you see the recent interview with Molly Wright Steenson?
• Julie and Tamara will be out and about learning from fellow practitioners this week at a number of sweet gigs around the city including SF Service Design Drinks at Adaptive Path, Creative Mornings at Typekit, and theWhiteboard at SonicRim. Will you be at any of these? If so, please do say “Hi!” We would so love to meet you!
• Julie is nose deep in details and planning for some fieldwork for the Omni project. More to come on this.
• Steve is exploring an exciting project opportunity in partnership with another studio. Viva collaboration!
• Tamara is ready for a creative fuel injection when she chaperones her son’s school field trip to the Children’s Creativity Museum tomorrow. Fun for all ages!

Hope to see you out and about.

The digital era has given rise to a more intimate custom. It has become fashionable for young people to express their affection for each other by sharing their passwords to e-mail, Facebook and other accounts. Boyfriends and girlfriends sometimes even create identical passwords, and let each other read their private e-mails and texts. They say they know such digital entanglements are risky, because a souring relationship can lead to people using online secrets against each other. But that, they say, is part of what makes the symbolism of the shared password so powerful.

Waterstones drops its apostrophe [Telegraph] – The justification of digitalization is a curious one. Since I have no attachment to the brand, personally, I like the new name’s evocation of rocks just below the surface of a flowing brook, rather than the possessive-of-someone-with-a-classic-British-name seen in the previous version.

The country’s last remaining national chain of bookshops, founded by Tim Waterstone, has decided it is more “practical” to ditch the apostrophe. James Daunt, the managing director, who took over the chain last year following a change of ownership said: “Waterstones without an apostrophe is, in a digital world of URLs and email addresses, a more versatile and practical spelling.” One customer on Twitter responded: “Wish I’d used that in spelling tests …”. Others used the hashtag #isnothingsacred, while another tweeted that it was another step towards apostrophe extinction. John Richards, the chairman of the Apostrophe Protection Society said: “It’s just plain wrong. It’s grammatically incorrect. If Sainsbury’s and McDonald’s can get it right, then why can’t Waterstones. You would really hope that a bookshop is the last place to be so slapdash with English.”

At Bank of America, the Image Officer Has a Lot to Fix [NYTimes] – Buried in a hagiographic profile (that, given the subject matter, might have been just a tad more circumspect) is this familiar bit of corporate speak about what people do and don’t want and what they do and don’t say they want.

Ms. Finucane jumped to Hill Holiday, a Boston advertising agency, where she developed a flair for marketing. At one point, the agency conducted a study for Hyatt Hotels, aiming to distinguish between what customers said they wanted and what they really wanted.The lesson, Ms. Finucane recalls, was this: Customers don’t always know what they want. “You may say you want a bathrobe and slippers,” she says, “but the truth is you really want a telephone in the bathroom.”

Dating service connects people over their leftovers [Wired] – This little story is actually a leftover itself, from some of Julie’s scouring-the-web-for-curiosities. Might make more sense to pair up people with extra food and people with not enough food, rather than try to force a romantic connection into the mix. I guess that’s what sells, though.

Farmers cooperative Lantmännen has developed a dating tool that connects singles based on what food they have leftover in their fridges. It might not sound like the level of psychometric filtering touted by other dating websites, but Lantmännen aims to pair up fellow environmentally-conscious single people to share leftover dishes or ingredients. According to Lantmannen, a fifth of all food in Sweden is thrown away. It was this figure that led to the creation of the dating service, called Restdejting. People are invited to visit the website and enter up to five ingredients that they have hanging around the kitchen. This list is then published to Facebook for other Restdejting singles to peruse.

But what are we to take away? Is this some counter-establishment commentary? Some kind Dadaism reincarnated or an art project born of a lazy Saturday evening “potluck” that comes in little plastic baggies? Ha! Is it some conservative attempt to contain and sterilize an otherwise loose and “free” art form? Are these frames meant to control and connote a more sanctioned museum-like quality? —OR— More intriguingly, is this a fun, yet purposeful recommendation towards a comfortable middle ground; a less combustible space between tension and expression?

ComScore Study Confirms What We Already Knew: You’re Wasting Money on Ads No One Sees [AdAge Digital] – Many, many apps and web-based services (and concepts we encounter on projects regularly!) are predicated on an advertising-based revenue model, but (as we all know from our own behavior – this study is in the category of things-we-really-didn’t-need-a-study-to-know) these ads are very rarely even glimpsed. If a banner ad falls in a forest, etc…what are the implications to our virtual-economy?

ComScore announced it has developed measurement software it’s calling Validated Campaign Essentials, which includes at its core an analysis of which ads in an online campaign were in-view (50% of the ad must be viewable for at least one second.) The company said at an event this morning that it tested out the software over the last two months on campaigns for 12 big brands, including Kraft Foods, Ford, and Sprint. One of the key findings: 31% of the 1.7 billion ad impressions were never in view.

Buying the Body of Christ [Killing the Buddha] – This is a pretty thorough history of the Cavanagh Company, a 69-year old business that provides a product believed by many to transmogrify into the body of Christ: altar bread. A wide variety of influences cultural, logistical, ritualistic, theological and economic have driven innovation over the years. The company is now faced with bitter bested competitors (nuns!), niche-products (gluten-free wafers) and Polish knock-offs, all of which threaten their 80% market share.

Had production remained the exclusive bailiwick of monastic communities, it is likely that the findings of Vatican II would have prompted some minor changes in Communion-wafer production. Among the guidelines issued by the Church was a directive to “make the bread look more breadlike,” head of production Dan Cavanagh told me. It is a change whose significance may yet be lost on the millions of churchgoers who continue to think of hosts as a form of Styrofoam. Nevertheless, Cavanagh’s more “breadlike” whole-wheat wafer caught on. It became the industry standard, and forced the Poor Clare nuns to follow suit. In fact, the doctrinal changes of Vatican II were only a starting point for innovation. The Cavanagh Co. soon led the way to wholly aesthetic alterations in the host, to marketing campaigns and 1-800 numbers. The ethos of the altar bread industry changed profoundly, which is precisely what the Sisters of St. Clare found so unjust: ‘And they had the audacity to send samples and a price list to every parish in the United States! We were doomed. Priests started calling to say they preferred the “other” breads. Orders dropped. Our spirits drooped.’

On Monday Steve and I stumbled into a conversation that surfaced this difference between us in how we think about communicating with people. I’ve been reflecting on it all week and considering how it affects my interviewing practice. Mostly I have been paying more attention to how I am thinking during conversations and what kinds of opportunities I am seeing and looking for. Hot on the heels of Steve’s post with tips to improve interviewing skills, I hoped to surface a new point or two.

Yesterday morning I was walking a trail along the ocean. I heard a woman remark to the man next to her, “Well that was very creative of you!” I tried to keep walking, honestly I did. But I love creativity almost as much as I love talking to strangers so I had to backtrack- two loves in one conversation was irresistible! “Excuse me. Hi, I’m so sorry to interrupt you, but I overheard you say something about him being creative and I’m so curious! What creative thing was he doing?” So began my 20-minute interlude with Grace and her husband Eugenio (as Grace explained, “It’s pronounced ay-you-HEN-ee-oh”).

He is an artist, a painter. “I prefer mostly abstract and figurative painting. But you have to find your own voice…You can’t do too much school. I did some school when I was younger, in Mexico City. But if you are in school too long you become a mannerist. It just gets harder to find your own voice and be honest with it.” He told me about Joseph Beuys and Hockney (who Eugenio insists is overrated). We shared our mutual love of making art in and with nature. “You haven’t seen The Crack by Goldsworthy yet? Oh, you have to take your son to see it.”

Grace is the mother of a 43 year-old and retired from some job that required her to sit in front of a computer all day. “I already spent a lot of my life in front of a screen. I don’t want to do that anymore.” They don’t have email addresses and don’t bother with the Internet. They do walk by the ocean everyday, each one carrying a soft ball to squeeze. Grace has a red ball she kept turning in her gloved hands. Eugenio’s is a faded dark turquoise-y blue. “The hands of an artist require dexterity” he told me, fingers flexing. They laughed when I pulled out my iPhone to take notes so I would remember the names, the words, etc. and agreed that I could take their picture for this story but didn’t care to see it.

At some point early in our chat I became aware that I wanted to blog about my encounter with this couple. This awareness immediately transformed my thinking. I found myself struggling to just listen to their words once I started searching for a story I could later write. I prefer listening to, over listening for when I meet new people. It feels more organic, more natural. It also feels hard to stay present when my mind wants to narrate.

Thanks to a conversation with Steve, I got curious about the art of inquiry and how we have different perceptions of conversational openings. Thanks to Eugenio (and my love of talking to strangers) I got curious about the local work of an artist I admire for his love of the ephemeral. People (and conversations with them) are fleeting opportunities to pique curiosity and learn something new. I guess if any tip emerged from this interaction it would simply be to stay curious. And look for learning.

And that’s what art’s about, isn’t it? … It makes you see things in a different way than you would normally. – Andy Goldsworthy

The Rise of the New Groupthink [NYtimes] – Collaboration is the new black and, not surprisingly,  it is not without its discontents. The author cites a range of studies (and Steve Wozniak as an exemplar) for why uninterrupted alone time is necessary and brainstorming in groups is not as effective as solo ideation. It doesn’t take loads of creativity to cherry-pick studies and successful individuals that support your case, in fact I think that’s called confirmation bias.  Most disappointing is the characterization of collaboration as Groupthink which implies assembled individuals are stifled creatively and unable to reach their maximum creative frequency of Flow. Rather than supporting the case that collaboration isn’t worthwhile, I see a need for better communication, alignment, and understanding of diversity by the individuals that make up the group. A gifted facilitator, dedicated to stewarding collaborative creative processes and balancing different ideation styles, may offer a valuable remedy for this divergent diagnosis.

One explanation for these findings is that introverts are comfortable working alone — and solitude is a catalyst to innovation. As the influential psychologist Hans Eysenck observed, introversion fosters creativity by “concentrating the mind on the tasks in hand, and preventing the dissipation of energy on social and sexual matters unrelated to work.” In other words, a person sitting quietly under a tree in the backyard, while everyone else is clinking glasses on the patio, is more likely to have an apple land on his head. (Newton was one of the world’s great introverts: William Wordsworth described him as “A mind for ever/ Voyaging through strange seas of Thought, alone.”)

Woz on Creativity: Work Alone [brainpickings] – My favorite source of cognitive candy offered a lovely, gentle rebuttal to the above article. It suggests, as do I, that creativity benefits from collaboration because fantastic things happen when ideas bang against each other. Neuroscientists tell us that new ideas are born of cognitive dissonance (when the brain struggles to hold two seemingly contrary concepts in the mind at the same time). This process has various monickers (forced connections, ideas having sex). In my experience it is guaranteed to produce innovative thinking and often works best when those two dissimilar ideas come from different people.

This, of course, should be ingested with caution — when taken out of context, it could easily become a distorted extreme. As Steven Johnson argues in Where Good Ideas Come From, innovation happens when ideas collide with one another, which can’t happen in isolation — an environment conducive to such collisions is essential for combinatorial creativity.

Federal Buzz: Does the government need more extroverts? [The Washington Post] – If you don’t have time for an in-depth study of the MBTI (Myers-Briggs Type Indicator) then this article offers a quick little lesson in some key distinctions between introverts and extroverts, as well as why there can be confusion and cases of mistaken identities.  The article is a response to the argument that the government must hire more extroverts if it has any hope of fostering innovation. Plenty of voices chime in to dispel myths of introversion vs. extroversion and illuminate the challenges of employee retention within a work culture that neither nurtures nor rewards innovative contributions.

Several [introverts] also professed to being mistaken for extroverts because any personality type can exhibit the qualities of a good leader. Explained Kenneth Wells, an employee with the Navy, “I have been in positions where I had to act like an extrovert and make decisions quickly and decisively. Just remember that person who you think is an extrovert may be an introvert. All he or she wants is to get the job done, and then spend a little alone time to recharge and work on the next assignment.”

Stockholm’s School Without Classrooms [Architizer] – The Swedish Free School Organization Vittra is innovating the learning landscape with a new school designed to inspire creativity and community. The interior architecture is reminiscent of design studios (which are criticized in the above Groupthink article for lacking personal spaces). I, for one, drool at the thought of my son getting to attend a school designed to promote openness and interaction. Of course, my son is an extrovert like me so he would likely flourish in a school without walls. How is this kind of open environment experienced by a more introverted child?  How do the teachers nurture and honor diverse creative kids in this context? I acknowledge my own confirmation bias here in suggesting that the teacher-as-facilitator seems like a viable anecdote for ensuring the students learn to stretch and shine, both alone and together.

The principles of the Vittra School revolve around the breakdown of physical and metaphorical class divisions as a fundamental step to promoting intellectual curiosity, self-confidence, and communally responsible behavior. Therefore, in Vittra’s custom-built Stockholm location, spaces are only loosely defined by permeable borders and large, abstract landmarks. As the architects explained, “instead of classical divisions with chairs and tables, a giant iceberg for example serves as cinema, platform, and room for relaxation, and sets the frame for many different types of learning,” while “flexible laboratories make it possible to work hands-on with themes and projects.”

This interview has been edited, condensed, etc.

Molly Wright Steenson is an architectural historian, designer, researcher and strategist. She is a Ph.D. candidate at Princeton University’s School of Architecture, where her dissertation, “Artificial Intelligence, Architectural Intelligence: Nicholas Negroponte ad the Architecture Machine Group” looks at the intersection of technology and architecture in the 60s and 70s, and how AI and architecture created groundwork for contemporary human-computer interaction. Molly began working with the Web in 1994 at a wide variety of Fortune 500 and smaller, creative companies. As a design researcher, she examines the effect of personal and mobile technology on people’s lives, with recent projects in the US, India and China. She was a resident professor at the Interaction Design Institute Ivrea in Italy and holds a M.A. in Architecture from Princeton, a Master’s in Environmental Design from the Yale School of Architecture and a B.A. in German from the University of Wisconsin-Madison. Molly’s lived online at Girlwonder.com since the mid-90s. She travels too much and she probably knows someone you know.

the Omni Project: How do you define technology?

Molly Wright Steenson: Technology is a device, the connective tissue, the functional implement. I’m especially interested in how technology drives our communication, whether we’re talking about the Pony Express, the pneumatic post, or the Internet.

tOP: What insight can we gain from the way we conceive of and discuss technology?

MWS: One of the hangovers of Web 2.0 and the there’s-an-app-for-that mentality is that success in technology values the market and shipping a project, not a critical viewpoint or different design questions that can lead to breakthroughs we haven’t had before.

One reason I love teaching in schools of design is the speculative nature of student design work: it does not need to make it to market to be successful; it does not need to answer to a bottom line or an uncreative client. What it needs to do is address the question of the application of art, the incorporation of a stance or point of view, and the execution on a variety of levels, whether drawn, rendered, built as a model, told as a story, presented as a fly through, or enacted as a performance. In order to develop novel ideas for the mainstream or commercial world, it’s important to spend time on speculation and surprise.

I approach technology from a historical perspective to look at the foundations of why we turn to different technologies to help us communicate, to consider the kinds of problems we had in the past and the interfaces we developed to help us deal with it. For instance, telegraphy boomed in the 1870s because it was inexpensive and theoretically instantaneous, but it was difficult to get a telegram across a crowded city like Paris quickly, due to traffic and the labor required to transmit and transpose the messages. So it made more sense to build a network of cast iron pneumatic tubes between post offices, to bypass street-level traffic. Every major financial center had this problem; financial centers drive communication needs and thus the technologies that support communication. Paris developed the largest pneumatic post network in the world with 450 km of pneumatic tubes, and at one point processing 12 million pieces of pneumatic post.

Pneumatic tubes. Doesn’t that seem elaborate? A technological wonder? Magical? Steampunk? Yet at the time, given relationships between civil engineers and the government and communications, it made sense to build something this elaborate. What could we learn from this decision today? What does it teach us about our questions of interface, of network, of capital, of finance?

tOP: As a historian, do you privilege the past over the future? What is the benefit of looking backwards when looking forwards?

MWS: Becoming a historian provided another perspective: it shifted time for me. I like looking at things flatly: newer does not necessarily mean more advanced. My perspective considers equally the contemporary impact of mobile phones on urban India or social network technologies in China, or Web 0.0 and 1.0, or the projects Nicholas Negroponte led as a part of his Architecture Machine Group at MIT in the 1960s and 70s, or the pneumatic post in the 1880s. All of these contexts—and many more I have yet to discover—represent possible futures that haven’t happened yet, or might happen in a different way. They’re all fruitful and ripe contexts for investigation.

So what about near-past casting, instead of future-casting? I’m struck by what Haruki Murakami said about his new novel, 1Q84 in a New York Times interview

“Most near-future fictions are boring. It’s always dark and always raining, and people are so unhappy. I like what Cormac McCarthy wrote, The Road — it’s very well written…But still it’s boring. It’s dark, and the people are eating people…George Orwell’s 1984 is near-future fiction, but [1Q84] is near-past fiction. We are looking at the same year from the opposite side. If it’s near past, it’s not boring.”

Thinking slightly back in time spurs different thinking.

tOP: When you look at your life, what impact is technology having?

MWS: Molly Steenson has come unstuck in time, to borrow liberally from Kurt Vonnegut. I’ve lived my life online in some manner or another since 1992, on the Web since 1994, and as girlwonder.com since 1997. I maintain a huge network of people and things, and for better or for worse, the technologies that illuminate our social network makes these things all the more possible. In some ways, I feel a lot more like people a generation younger than me who grew up with the Web and mobile technology: it’s very much a part of who I am. It’s sometimes bewildering to people my age or older outside of high tech culture.

tOP: A network of things?

MWS: I’m interested in how things mediate connections between people—the relations they bring to bear. Some parts of actor-network theory (ANT) influence on how I think about people and interactions with places and things. ANT doesn’t necessarily privilege people (or users) at the center of an interaction, but rather actants: human or non-human elements that stand in relation to each other. The relations become particularly important. So when I look at the world that we interact with, I see people and infrastructures and interfaces. I see people as interfaces for ideas, and interfaces as ways to get what lies beneath and makes ties us together.

When I wrote about the Poste Pneumatique (published in short form in Cabinet, a clip available here) and about the Paris Central Post office, I went back and looked at all of the interfaces I could determine: brass cranks, cast iron tubes, steam engines, water for the steam, cast iron and glass desks for mail sorting, elevators for moving the post, chutes for sending it to the basement. I also looked at the relations that these enabled between people and financial systems, between the movement of capital and the development of communication networks.

But these same kinds of interactions are why I was fascinated by the phone book as a kid, of how to call a foreign country (though I didn’t have anybody to call and I didn’t go overseas till I was 17), why I still stop and look mail sorting facilities and switches and wires. Somehow, they seem to represent us and the relations we build between ourselves. I guess you could say I’m an infrastructure nerd, or a media and communication nerd.

tOP: You have a strong connection between what you are learning and how you are living. How do they drive each other?

MWS: One of the reasons that I went back to school was the experience I had living in Ivrea, Italy, when I was a professor at the Interaction Design Institute Ivrea. Ivrea was the headquarters of Olivetti, and although it’s been there since Roman times, it’s best known for its role as a modernist social-corporate utopia. We lived in Talponia (mole city) – a huge 1972 semicircular residence built into the side of a hill, with a meadow in the middle. It was parts Logan Run, parts northern Italian idyllic, and it changed me. For that matter, it changed all of us who lived there. I came back to the US, fairly undone from the whole experience of living and working there, inspired by the architects and industrial designers I worked with, and needed to change my focus. That’s how I ended up studying architectural history: I wanted more depth than my previous career in user experience afforded.

Asking “What can I do to spend a month (or two, or three) where you are?” leads to wonderful things. I just came back from a month in Umeå, Sweden, where I was a resident at the HUMLab (the digital humanities lab at the university), where I turned 40. Two years ago, I spent the summer in Montreal at the Canadian Centre for Architecture There’s been Berlin, Bangalore and Copenhagen while I’ve been in grad school. In all of these cases, the travel isn’t random: it’s connecting with people and projects and places that I know, and as a student, I’m lucky to have the flexibility I do.

tOP: If society is changing through technology, what is gained, and what is lost?

MWS: Look at this quote: “…the transmission of intelligence, in the most literal sense of the term, annihilates both space and time.” [1] It’s the case today, certainly, but the quote is from 1850, from Dionysius Lardner, and the technology in question in that quote: the electric telegraph. ”Nothing facilitates and develops commercial relations so effectually as cheap and rapid means of intercommunication,” he writes.

It seems to me that we’re grappling with the same question today that Lardner asked, whether at the speed of rail travel, as he addressed it, or at the speed of nanoseconds and the scale of planetary orbit. What are we gaining or losing? Maybe that’s the wrong question.

Okay, one thing. I have this thought that we’ve lost our senses of proxemics and proprieception, thanks to our reliance on the mobile phone screen we always looked down at before we make our next move, and it’s changed people’s walking and peripheral vision, even when they don’t have their devices in front of them or in their hand. I think we’ll learn how to reintegrate and multitask both with people in front of us on the street and as we drift in the third space of mediated communication, but it’ll take some time. It makes it really annoying to get anywhere quickly, even in a place like New York or a busy international airport (especially at the top of an escalator, but I digress).

tOP: What else do you want to tell us?

MWS: I’d like to pick up the things I’ve loved but that somehow fell away over the years: playing classical guitar and flute, acting, writing poetry. I’d like to do more of the things that I enjoy but am not awesome at, like running, or drawing and watercolors. My life’s about to focus a lot as I finish my dissertation and find (a likely academic job). And I want a dog.

[1] Dionysius Lardner, Railway Economy; a Treatise on the New Art of Transport, Its Management, Prospects and Relations (London,: Taylor, Walton and Maberly, 1850), 18.

So, what’s happening this week at Portigal? Quite a bit…

• We are up to our ears in interesting opportunities that require some creative thinking about participant engagement. Our research gears are turning!
• Steve and Tamara will be giving a curtain-call presentation of findings from a recent study.
• We continue to prepare for upcoming fieldwork (New York!! Los Angeles!!) and Julie is going to be busy making some tools to catalyze conversation.
• Steve presses on with writing for his forthcoming book, synthesizing fabulous interviews with change agents who have driven the adoption of user research and pulling together the great suggestions people contributed to Tips to Improve Your Interviewing Skills (and a request for more!)
• We are percolating some sweet ideas for primary research in 2012 for the Omni project and plan to share them soon. Stay tuned…
• Steve continues to plug away on various tasks related to the upcoming Interaction 12 in Dublin.
• We are all eagerly awaiting the arrival of Wednesday so we can get our geek on at Nerd Nite SF!
• Steve is meeting with a big Silicon Valley player to explore how we can deliver design research training to their teams.
• We continue to search for (and find!) cool opportunities for learning, teaching, and sharing. Julie and Tamara are currently in the throes of submitting proposals for Agile2012 and a few other gigs…
• Tamara continues to dive deep into the eye-candy-land of visual thinking, doodling, mind mapping, graphic facilitation, etc. and welcomes suggestions for articles, websites, examples or groups of local SFists who like to get together with colored markers, blank paper, and ideas.

Merry Monday and Happy Week to you!

Give Your Employees Unlimited Vacation Days [Inc] – It will come as little surprise that letting employees take vacation time whenever they want (and for however long the desire) is a pretty clear indicator of an innovative company culture. It’s a policy that almost guarantees a deluge of resumes and hopeful job applicants. Apparently, it also promotes a highly productive work place. This article is anecdotal and autobiographical, so if you are looking for some statistics or a less shiny discussion of how this policy plays out in other companies, try this.

Through building a company on accountability, mutual respect, and teamwork, we’ve seen our unlimited vacation day policy have tremendous results for our employees’ personal development and for productivity. There. I said it. I think Red Frog is more productive by giving unlimited vacation days.

Do Innovation Consultants Kill Innovation? [Co.Design] – Bringing innovative thinking to organizations big and small is obviously a complex challenge. The authors contend that innovation professionals have stepped into an arena previously dominated by entrepreneurs and that this new breed is ill-equipped and ineptly motivated for the task of effectively transforming a company culture. It’s like blaming cigarettes for cancer when culpability actually lies with the smoker. The authors do encourage smokers, er, companies to learn from Hollywood and hi-tech industries and invest in better dream teams. With this approach, the challenge falls in the lap of the director, responsible for unleashing and wrangling the talent of the tribe. I am still stymied about how the authors (who are, as far as I can tell, innovation professionals) will fit into this proposed new order.

The new breed of innovation professionals we have encountered can be placed in two categories: innovation custodians and innovation word-slingers. The custodians are middle managers assigned to oversee the innovators and their processes. The word-slingers are external consultants that will take corporate managers through endless innovation workshops or blabber on about the aforementioned processes.

4 Lessons the Classroom Can Learn from the Design Studio [The Creativity Post] – Innovating the culture of the classroom requires a radical rethinking of how we think about learning and teaching and the contexts within which these activities occur. This articles highlights four key characteristics of the architectural design studio as possible solutions to classroom ills: critical collaboration, interdisciplinary problem solving, prototyping through mini-failures, and balancing the use of digital and analog.

From the everyday “Hey, can you take a look at this?” to the masters’ critique, learning in a studio is constant and multidirectional, formal and informal. Collaboration means communicating concepts, critiques, and questions for the betterment of the individual designer and the entire team. Studio surfaces are notoriously littered with inspirations, precedents, concepts, and drafts. In the studio, the process–not just the product–takes center stage.

Hostess’ Twinkie: An American icon in trouble [The Washington Post] – Here’s one for the innovation graveyard, where death (or obsolescence) await products whose time has passed. The Twinkie, originally created in 1930, may be retired this year as Hostess prepares for chapter 11 bankruptcy. Apparently rising costs of labor and ingredient prices are the culprit. I’m guessing the whole unhealthy thing probably isn’t helping either. [*note to Steve- the time is NOW if you ever want to experience a fried Twinkie]

They’ve been called the “cream puff of the proletariat.” They’ve served as a bed for a cockroach in the animated film, “Wall-E.” They’ve been used as a measurement of psycho-kinetic energy in”Ghostbusters,” and they were the basis of a defense argument in a famous murder trial. They’ve been deep-fried, made into wedding cakes and combined with hot dogs . President Clinton and the White House Millennium Council selected them as an American icon for the millennium time capsule.

…do take a moment to appreciate this concept in humane farming: As a farmer, you’d get to play video games with your hogs, and the gameplay might actually have the added benefit of making the animal’s life happier and healthier. The system includes a giant screen that broadcasts a swirl of glittering colors and lights next to the pigpen. The human participant controls the wall-sized screen remotely with an iPad, and the pigs react by touching and following the light designs with their snouts. Clement notes that researchers hope that this will all “open up new questions in debates about animal farming and welfare in the digital age…”

State Farm: Lincoln Park’s new neighbor [Chicago Tribune] – I’ve seen versions of this brewing on whiteboards from time to time. In order to provide financial services and education, learn about their more elusive younger customers (or potential customers) and of course create exposure and build brand good-will, State Farm Insurance has built a highly designed coffee-shop/community center with a slick website to match. No State Farm insurance products are sold through the channel. Access to the space, wifi, qualified financial coaches (by appointment or walk-in), classes and other events are free. Coffee and snacks are not free. I would love to know what it took to foster this concept – open since last fall – through the State Farm organization, and how they are measuring and reporting the success of the investment.

Next Door’s financial coaches are prohibited from soliciting products or services. “A lot of people want to get help with their finances and didn’t really know where to turn,” Carter said. “So to have a very unbiased person to talk to who can’t sell you anything, people have been really open to that.” The Lincoln Park location is State Farm’s experiment to gather information about how young people manage their money. On warm days, its windows open to the street, welcoming passersby. Next Door’s casual, modern design gives it a youthful vibe: lofted ceilings with wooden rafters; sleek sofas scattered throughout; cafe treats from local companies such as Kickstand Espresso Bar, Hoosier Mama Pie Co. and Noble Tree Coffee & Tea; dry-erase boards as walls; music pumping throughout; paintings from community artists; and long tables made from 1930s wood reclaimed from a South Side factory…”We check judgment at the door. That is the No. 1 rule. You’re making the first step coming here, trying to fix whatever situation you’re in. We’re just going to help you try to improve your situation.”