I have a thing for British television. It’s from having grown up in Edinburgh, I’m sure. But it is bolstered by the fact that some British television is in fact really good. One of my favourites is the crime drama “Cracker”, a three-season masterpiece of the form. Moreover, I believe it’s much like online social interaction in its approach to human insights and collecting evidence. … »
All social media involve a dislocation that de couples the act of communication or interaction from its artifact, which is a text or recording. This is a shame, in some respects, but one that creates possibilities that wouldn’t exist if it weren’t for the medium. The medium allows us to be always here and now but visible elsewhere anytime. It has a built in “anyplace, anytime.” … »
One of my favorite books about community is a work by Nobel Prize winner Elias Canetti called Crowds and Power. It’s a beautiful and thoroughly insightful study on people assembled in different ways and for a kaleidoscopic set of reasons. I turn to the book often when thinking about how social media both separate and connect us, using it as an imaginary frontier of sorts for what mediated crowds might or could do. … »
I started wondering last evening what twitter would be like if in addition to followers we could also see who was actually being paid attention to. The groups many of us use in clients like Tweetdeck or Seesmic, for example. So in the midst all of our positive talk of transparency and authenticity, I found myself chuckling at the opacity we in fact rely on to make it through the day. … »
Recently I came across an article in the Wall Street Journal about online ratings. The article, which surveys a number of online properties, cites the tendency to 4.3: On the Internet, Everyone’s a Critic But They’re Not Very Critical. The article’s authors pretty much capture what many of us get intuitively about why online ratings really don’t work, but I thought I’d break this down from a social interaction design perspective to get at some of the causes of this. … »
Incentives are a commonplace to game designers and developers. They are a means of designing activity to support goals and to motivate users. They are not events, which are those things that happen during game play and to which which users must react. We tend to think of incentives as those design elements that draw out, or appeal to a user’s interests, reasons, and motives. Design aspects that the user can anticipate, expect, and organize his or her activities around. We think of incentives as designed into a game, site, or service. But they are really, actually, in the user. They work because they incent (incentivize) the user’s incentives. … »
This post is about social interaction design. I’ve been gestating around the concept of “frames” for the past couple weeks. Frames of meaning, frames of experience, and frames as a concept for a user-centric description of social interactions. … »
On the phone yesterday with friend and colleague John Cass (SNCR), he happened upon an interesting topic. One for social media professionals of all kinds: designers, builders, funders, pundits. The question came up: doesn’t our expertise, built over years of spending time online, qualify us to see what’s really going on with social media? How it works and doesnt? … »
Josh Porter has a nice post out this week on the importance of taking user behaviors into account in social experience design. In Behavior First, Design Second, he makes use of an example I often use myself: what if twitter removed the follower count from user profiles? But I differ with Josh’s reasoning that some social behavior is hardwired. … »
Alfred Hitchcock used to say that he never made a “Whodunnit” movie. His movies were “For whom was it done?” In fact a lot of his movies begin with the crime. In some, the victim of the crime turns out to be the criminal himself. What does this have to do with Johnny Holland and experience design? Let’s find out. … »
