Ethnography

Begin Exploring Ethnographic Research With A Primer

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We’ve highlighted articles on ethnographic research a few times here at DBL for good reason. It is becoming more widely recognized as an approach that designers will use at the beginning of their research into understand the design problem. Before solutions can be developed it’s important to understand how one’s user community is experiencing the products and services and where the breakdowns are happening. Librarians are relatively new to the field of ethnographic research. We could use some help in learning more. Now some help is here is the form of a 19-page primer on ethnographic research.

I first learned about An Ethnography Primer at DesignObserver, in a post by Andrew Blauvelt, a practicing designer. He writes:

So, what is ethnography, you may ask. “Ethnography is a research method based on observing people in their natural environment rather than in a formal research setting.” …Accordingly, ethnography promises to unlock cultural perceptions and norms in a global marketplace, make communications more clear and effective, identify behaviors and impediments, and even evoke meaningful personal experiences. For some, it’s the true pathway to design innovation…ethnography can identify barriers and provide clues to where problems exist.

I’m sure that any real ethnographer will find the primer a vast oversimplification of what ethnographic research really involves, but for the rest of us it will prove an informative overview of what ethnographers do and what ethnographic research seeks to accomplish. I also find it helpful, that as the stages of the ethnographic research are reviewed (1-define the problem; 2-find the people; 3-plan an approach; 4-collect data; 5-analyze data and interpret opportunities; 6-share insights) the primer associates how an ethnographer and designer should be collaborating to benefit from the research process.

I recommend An Ethnography Primer to any librarian seeking to design a better library.

Articles, Creativity & Innovation

An Interview with Dennie Heye on Creativity

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Information scientist Dennie Heye is author of the book Characteristics of the Successful 21st Century Information Professional. In it, Heye has a chapter on creativity, an expanded version of which is available in the article, “Creativity and Innovation.” The article offers a number of tips and ideas for developing this important competency. I was especially interested in Heye’s notion that librarians can become “creativity facilitators” for their users by offering appropriate spaces, classes, community connections, and readings to support creative ambitions. I e-mailed Heye to learn more about his views on creativity. The following are my questions and his responses. I recommend reading the full article to learn more about techniques that will enhance your creativity.

1. You argue that creativity is a critical tool in the modern librarian’s repertoire. Why is creativity so important in today’s environment and what’s the relationship between creativity and change?

Creativity is key in my view because it helps us deal with constant change and should help us drive the change we want. By being creative, people feel more motivated and get a sense of achievement – we used our skills (creativity) to improve a situation, tool or service. You don’t get a wow-feeling from filling out a template or just going through the motions, but we do get that feeling when we have a great idea!

2. Interestingly, you argue that information professionals should support creativity within their organizations/campuses/communities and you also offer some examples of how to do this. What’s the benefit for librarians and users in doing so and do you see this as an increasingly important role for librarians?

“Libraries have always been the space to absorb knowledge from others and build upon that with new ideas. Think about how many ideas were generated in libraries when someone had a “Eureka!” moment after reading a journal or browsing a book. It is only natural that we build upon that role now, and I think we have the skills to do so. It will put us closer to the heart of our organisation and puts us in a key role.”

3. You mention that you cannot force creativity or innovation on demand (I completely agree with this by the way, based on my own experience!). Given this, how can librarians accommodate creative thinking in work environments characterized by multiple simultaneous projects and tight deadlines? Are there changes that must be made at the organizational level to facilitate creativity?

“In an ideal world the organisation would change to adopt a more creative and innovative way of working. But we all know that this is very unlikely to happen. So I would say, go for a grass roots approach. There is always room for creativity and innovative thinking – for example, every project has a brain storming phase to kick [it] off. I also work within a project-driven department, but we have Game Changer projects to facilitatie new ideas. If someone has a great idea [of] how to improve a process or has a promising solution, a project is set up to investigate with time and budget for that person. On a smaller scale, an “idea box” would be a great start, as long as management commits to taking every idea suggestion seriously.”

4. You describe a number of techniques for generating creative ideas. Which tip is your favorite and why?

“Being curious – as a kid I was always asking questions about the why and how, which I now see reflected in my 4 year old daughter (and now I know how it can drive parents crazy 😉 ). Sometimes I wish I could look at the world through the eyes of a 4 year old, they don’t just accept what you tell them but they keep asking “why” or “how” until they get it. That is something I feel we should use more often, to really understand something… For instance, this is a nice technique to challenge current ways of working: Why do you do it? Why do YOU do it? Why is it done the way it is done?”

5. Risk is a necessary implication of creativity. What suggestions do you have for information professionals working in risk-aversive organizations who want to flex their creative muscle?

“Start small – don’t try to change everything at once and provide mitigations for the identified risks. Make clear that you want to improve to better meet the goals of your organisation instead of going through the motions. If you can demonstrate that small changes have made a difference and that the risks were mitigated, this will be noticed.”

6. What else would you like to share about creativity and innovation?

“I have always like Bill Gates’ quote: “Nothing is a powerful as an innovative idea.”‘

User Experiences

Assessing The User Experience

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There is a good deal of talk about creating a user experience, but how would you assess that user experience to determine if its design is producing the desired outcome. Intel is a corporation that is developing extensive expertise in creating and evaluating user experiences. Intel is also taking the lead in using ethnographic research techniques to identify and understand how users relate to their products. So I wasn’t surprised to find that a recent issue of the Intel Technology Journal featured an article on the topic of “Assessing the Quality of User Experience.”

While there is some technical complexity to this article (I will need to read it a few more times), it offers some valuable insights into understanding the user experience. For example, for those who might confuse usability with user experience, the authors point out that usability focuses on task efficiency and effectiveness while user experience concerns itself with emotional and perceptual components across time. They define the user experience as emotions, attitudes, thoughts and perceptions felt by the users across the usage lifecycle. Having established what the user experience is, user experience quality is defined as (1) the degree to which a system meets the target user’s tacit and explicit expectations for experience; or (2) the measured level of quality of a particular user experience when compared to a specific target.

The article then proceeds to describe the research established to measure the quality of the user experience. Three quality assessment approaches are described. For example, one of the three involved observing people setting up home networking technology. The data collection routines were extensive, involving interviews, photographs, voice recordings and follow up-probes. After initial in-house work with test subjects, their homes were visited as well. Data analysis seemed a bit complicated, but it was clear that the study was valuable to Intel in discovering “clear gaps in features” that will be “used to help prioritize future requests.”

Now, is it possible to take what appears to be a rigorous assessment process designed to determine if users are having a good experience and apply that to the assessment of a library user experience? That’s going to take more pondering. I do think it could be of value to explore the “emotions, attitudes, thoughts and perceptions felt by [library] users across the usage lifecycle.” Of course, we need to get a better handle on what our product is and how that fits into the concept of a usage lifecycle. If our product is identified as “academic success of the student” or “lifelong learning for the community member” then the usage lifecycle could be the time during which the student moves from entry to exit (hopefully as a graduate) from the institution or the time during which a community member has access to the public library. I will be thinking more about this article to develop some better ideas about identifying how library could create and manage user expectations – and assess the library user experience as well. It should be more than just asking the users “how are we doing” on the occasional satisfaction survey.

Design Thinking, Uncategorized

Maybe We ARE On To Something At DBL

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While I truly believe that understanding design thinking and developing a culture of design in a library organization can aid in the design of a better library experience for the user, I occasionally wonder if we are possibly buying into a passing fad. Are we just caught up in it or are we onto something here. Well, maybe its the latter and not the former.

Though not strong evidence, I offer as an indicator something I just recently came across in The Journal of Applied Behavioral Science (March 2007). This is a special issue that the editor describes as exploring “the significance and potential that the design sciences and the approaches that underpin them may have for organizational development.” The stated goal is to get the design sciences onto the readers’ agenda for further consideration of the fresh perspectives offered through the concepts, methods and practices of this field.

The issue is an interesting mix of articles by practitioners of organizational development and practicing designers. The addition of designers to the issue serves to provide the opportunity to communicate what the thinking and doing of design involves. So the questions remains, what exactly do the design sciences relate to, and is that the same as design thinking? In this issue the attention is paid primarily to the “design approach” which shares some elements of design thinking. Both focus on how things ought to be and not how things are. Disciplines such as architecture and engineering are identified as examples of design sciences. While the articles focus on the design approach there are similarities with design thinking in that both focus on identifying and better understanding problems and creating an intervention or solution. But one article does discuss the process of “thinking like a designer” which involves:

    1. Reflection, Analysis, Diagnosis and Description 
    2. Imagination and Visualization
    3. Modeling, Planning and Prototyping
    4. Action and Implementation

These four steps are quite similar to the design thinking process with the possible lack of an evaluation step. This special issue offers a great deal to think about, and many new article citations to review. But the discovery that a non-design discipline finds enough value in the design approach to dedicate an entire issue to it, I think, speaks volumes about the potential for integrating design concepts and practices into fields when the practitioners have never before thought much about design.

Creativity & Innovation

Innovation And Getting To Where You Want To Go

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I just wrote something about innovation over at ACRLog, and my basic point in that post is that there is a lot of talk about innovation in libraries (and as someone pointed out job ads always ask for “innovation” as a candidate quality), but that we might not always know what true innovation is or how to think about innovation as a way to achieve organizational outcomes. To gain better insight into this I recommend an article titled “Innovation, Growth, and Getting to Where You Want to Go” that appeared in Design Management Review. The article is authored by two employees of the IDEO design organization.

They suggest the main reason we should try to innovate is “to deliver experiences that make life better for people”. That sound like something we can get behind here at DBL. But while making life better is an admirable goal, the way we operationalize it is through a combination of new offerings and new users. If we can get new people to use the library by offering new services and products, we will grow as an organization and that will signify innovative change.

The authors also identify three types of innovation outcomes. Incremental innovation reaches existing users with existing offerings. Evolutionary innovation either provides new offerings to existing users or provides existing offerings to new users. Revolutionary innovation provides new users with new offerings. In libraries we are good at incremental innovation, occasionally achieve evolutionary innovation, and rarely achieve revolutionary innovation.

“Ways to Grow” is a method the authors recommend for identifying innovation goals. Where I think it will help me is by recognizing (revolutionary) innovation as a new product or service that reaches someone new. As I wrote in the post at ACRLog, something new is not necessarily something innovative. However you wish to define innovation and whatever serves as innovation in our libraries, the effort put into it should provide a clear understanding of how it will help the library grow – and deliver an experience that makes life better for people.

Creativity & Innovation

LAMSTAIH and Other Creativity Insights from Play

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Last week, I had the pleasure of attending a talk given by creative coach Tim Leonard of the Richmond-based creativity consultancy firm, Play. Leonard described the models and approaches employed by Play to help clients reach their creative potential. His words were inspiring. He reaffirmed my belief that any employee or organization can capitalize on its innate ability to be creative. In addition, he offered concrete approaches to harnessing creativity – techniques that librarians can also learn and apply to create better user experiences. Here are the highlights of the talk and my commentary:

LAMSTAIH

Play operates from a central tenet: LAMSTAIH (pronounced Lam-Stye), which stands for Look at More Stuff. Think about It Harder. These seemingly obvious statements are deceptively simple. Look at More Stuff, according to Play, “is the process of designing and experiencing an inspiration inventory to make observations and gain insights.” The mere act of looking, however, is more difficult than it may sound. Most of us, Leonard asserted, are trapped in what he calls a “to-do list mentality” that derails creative thinking. In this mindset, we’re focused on outcomes and on checking projects off of our lists. What’s more conducive to creativity is to focus on process and to actively observe the world around us for inspiration. (Leonard, not surprisingly, argued that a desk is a horrible place for doing this observational work). For better creative thinking, Leonard recommended stepping out from what’s familiar into new and strange environments to observe. These observations, in conjunction with particular methodologies that will be discussed later, can lead to insights that drive innovations. In essence, Leonard suggested pointing that “to-do list mentality” toward focused observation. In one example, Leonard pointed to Loggerhead Tools’ award-winning Bionic Wrench design, which was inspired by the shutter of a camera’s lens.

The Think About it Harder piece of LAMSTAIH “is the process in which specific tools and methodologies are applied to transform observations and insights into concrete ideas & concepts.” Though I don’t pretend to grasp the process fully at this point in time, it involves ditching preconceived notions of your objective, breaking the objective down into its core elements, and then focusing your observations on those core pieces. Play recommends first making “safe” observations on things closely related to those core pieces, and then widening the search to things that are only tangentially related so as to side-step your brain’s preconceived notions in order to make truly innovative discoveries.

The 5 M’s

Leonard discussed another model called the 5 M Model of Systemic Innovation. This model is used to understand innovation at the organizational level. The M’s in question are Mood, Mindset, Mechanisms, Measurement, and Momentum. Leonard discussed the first 3 M’s in detail.

Mood

Mood is fairly self-explanatory. It’s the climate for innovation and the mindspace where people work.

Mindset

Leonard referred to Mindset as the intellectual foundation of creativity. It’s the personal traits and behaviors exhibited by members of the organization. There are 4 aspects of Mindset that people can control to foster creativity:

1. Change Perspective: Examine a problem from every angle and point of view. Leonard noted that most companies are very bad at this because the dominant point-of-view is established by the organizational leaders.

2. Confusion Tolerance: Confusion tolerance demands that organizations suspend the need to solve a problem in favor of generating a breadth of possible solutions.

3. Skinned Knees: A.K.A Taking Risks. Leonard mentioned that oftentimes that, for the sake of starting a conversation, people need to offer up ideas that may not be well-received. However, by taking a risk and throwing out an idea, people have something to react to to move beyond stagnant thinking.

4. Passion: Leonard emphasized the importance of bringing your personal passion to work with you. He said that there is often a discrepency between the “work self” and “real self” and that by bringing the two closer together, innovations are more likely to occur.

Mechanisms

Mechanisms are the tools and processes of innovation, or “the how.” One mechanism Leonard mentioned was something called “worst idea.” If no one can think of a good idea, Leonard recommends that everyone offer up their worst idea. This technique gets people thinking and often leads to the best ideas. To demonstrate this, Leonard mentioned a project he worked on in which is team was charged with the monumental task of promoting wool clothing with a fresh take. The worse idea offered involved letting a herd of sheep loose in Manhattan. The idea that was actually executed was one in which models walked sheep around Manhattan.

At the end of his talk, I was not only inspired but I had generated countless questions about Play’s approaches and their potential application to libraries. Specifically, I began to more fully understand that creativity is the end result of a lot of hard work. One must consciously seek out unique experiences and insights while restraining one’s natural inclination to jump to conclusions. I then began thinking about current marketplace trends toward consumer empowerment and businesses’ desire to capitalize on innovations generated by customers. Is this deference toward customers as a source of innovation warranted? I asked Leonard his thoughts on this and mentioned how Apple purposefully doesn’t use focus groups as a source of ideas. He responded that Apple needs to be a few steps ahead of its customers to be competitive and that customers likely wouldn’t be able to articulate a vision like what Apple designers devise. I believe the same holds true in the library world. We can’t wait for great ideas to spontaneously sprout up from patrons or competitors. It’s a professional imperative that we librarians learn how to seek out and strategically develop innovative ideas. Creativity requires focused effort, not good luck. If we are to appeal to patrons’ imaginations and create real value for them, we must adopt an inquisitive and experimental attitude in which the world outside of our library walls is our laboratory. In fact, if Play’s philosophy holds true, our institutions are destined to stagnate or worse, become completely anachronistic, if we don’t look broadly for insights. We can and should invite our patrons in on this journey, but they too need the tools, guidance, opportunity, and incentives to discover new ideas. It’s our job to lead the way and we can’t delegate that responsibility, as doing so would be a disservice to our patrons and our communities. We should, however, be encouraged to know that creativity is something each and every one of us can learn to practice and apply.

To learn more about creativity from Play’s point-of-view, read their Red Papers, many of which I’ve linked to throughout this piece.

Instructional Design & Technology, Uncategorized

Designing Your Objectives – Part Two

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In part one of this two-part post I introduced a method used by instructional designers to develop objectives. Sound objectives are in integral part of assessment, for without well-designed objectives we have no clear sense of what the outcome is and how we can measure whether or not the appropriate outcome was achieved. So let’s go back to our objective and apply the A-B-C-D method to it.

The students will complete an exercise in which they translate research topics into research questions. This will be completed as an assignment for review in class. Students should successfully convert 8 of 10 topic statements into acceptable research questions.

In this example the “A” (audience) part of the objective is the students. The audience is the individual(s) who will participate in the objective. The “B” (behavior) part of the objective is complete an exercise in which they translate research topics into research questions. The behavior is what we want or expect the audience to accomplish. The “C” (condition) part of the objective is review in class. The objective should describe where or under what conditions the learning needs to take place. Finally the “D” (degree) part of the objective is sucessfully convert 8 of 10 topic statements. It identifies just exactly what the learner must do to achieve competency, and helps to measure if the objective has been accomplished.

So if we were to conduct an exercise in an instruction session to test student ability to translate topics into research questions, it would be up to the instructor to devise an instruction method and choose an instruction medium, but the actual assessment of learning would be no different whatever methods were used. If the students are able to demonstrate they can successfully convert 8 of 10 topic statements, then the outcome was achieved.

I hope this example helps to illustrate how the A-B-C-D method can be used to write objectives. The difficulty in writing clear objectives is a frequent barrier in designing learning outcomes. If this method doesn’t work for you, an option may be the Web-Based Objectives Builder Tool. I have experimented with it a bit, and if you take the time to work through it can help to write or think through objectives. It can even help with working through the A-B-C-D method as it can recommend appropriate verbs for contructing objectives. It takes some practice, but some may find the Builder Tool works better. Those who need help developing and writing objectives can find more information in many instructional design texts. I recently found this article to be of some help.

So the next time you need to design an instruction session or instructional product for your user community consider starting with a set of objectives. It may save a good deal of time when conducting the assessment of the service or product.

Uncategorized

Libraries and Gaming

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In yesterday’s New York Times there was an article on gaming and the elderly.  It seems that video gaming among this particular population is trending up.  In fact, “older users not only play video games more often than their younger counterparts but also spend more time playing per session.”  The article also found that individuals 50 and older “accounted for more than 40 percent of total time spent” and that “women spent 35 percent longer” than men.

Older gamers are getting into gaming because it is good exercise – both intellectually and physically.  Casual games provide them with a way of keeping their minds engaged and active. The more physical games like the WII can provide them with a way of getting physical exercise.

The article mentions that research on the impact of gaming on diseases like dementia is sparse.   However, the latest research in neurobiology is coming to the conclusion that our brains are not as “hard wired” as we previously suspected.  (See Marc Presnky’s article on digital natives)  Until recently we were taught that external stimulation had relatively little affect on the structures of the brain.  Researchers are now finding that this simply is incorrect.   In fact, gaming seems to have had a profound impact on our brains.  Prensky suggests that we now think differently as a result of the introduction of technology into our daily lives.

What does this have to do with designing better libraries?  Well, quite a bit!  All educators – including librarians – need to develop an understanding that technology has had a profound impact on how we act AND how we think.  We need to develop systems that reflect how learners learn today. Libraries and library systems have traditionally taken a very linear and very text-based approach to accessing resources.  This approach, it turns out, may actually be detrimental to the educational process.

The first rule of education is engagement.  Games are by their very nature engaging.  As a result, our users are turning up in these environments more and more often.  They are there and we need to be there as well.  So, my post is a question really….what is the library community doing about getting into gaming in significant ways?  Who are the leaders in this area and what are they doing to make library resources and services more accessible through game environments?

User Experiences

Ethnographic Research As A Tool For Understanding Users

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Key design firms have long used ethnographic research methods to study the users of products they are designing in order to understand how the users actually use the product. When IDEO was asked by Apple to innovate a new mouse for the Mac many years ago, the IDEO folks spent hundreds of hours studying people using the mouse device, as well as trying to better understand what people wanted to do with the mouse.

This article “Big Brands Turning To Big Brother” (not a particulary good title) describes how the makers of consumer products are turning to ethnographic research to understand how consumers choose and use their products. According to the article:

In less than a decade ethnographic research – detailed observations of the day-to-day behaviours of a small sample from a target group of consumers to shed light on how they use, choose or buy products – has established itself alongside consumer surveys and focus groups as a leading tool of market research.

In libraries, usability studies are far more common than ethnographic techniques. One weakness of most usability testing is that users are asked to perform certain functions and then are observed doing them. But the users will often do what they think the observers want to see (such as how fast can they find a book in the OPAC), rather than what they would normally do. Ethnographic research just observes the users as they use the products with no specific tasks in mind. This is one way in which the makers of the product learn that users are doing things they never expected or anticipated. This leads to unique forms of discovery and innovation.

But as you will learn when you read this article, proper ethnographic research techniques can be far more invasive into the lives of the subjects, and may be beyond what libraries could be capable of accomplishing. But by studying and understanding how ethnographic research works there may certainly be possibilities that we can integrate some of the techniques into our user studies – which will no doubt contribute to the design of better user experiences for library users.

Articles, Creativity & Innovation, Uncategorized

Finding Your Innovation Orientation

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Understanding creativity and innovation is one area of concern for librarians, but so too is figuring out how to foster an environment conducive to producing innovations. The latter issue is the subject of an article entitled, Developing an Innovation Orientation in Financial Services Organisations by Dr. Christopher Brooke Dobni. This paper offers an innovation model for financial services firms, and one that I suspect can be applied successfully to libraries with some modifications given the relatively close relationship between the two areas of professional service.

According to Dobni, innovation is important because it allows companies to create substantive customer value within a highly competitive environment. In fact, he asserts that innovative organizations wield innovation to take advantage of opportunities when they arise and outpace their competitors in the process. Dobni writes that innovative organizations share 4 common characteristics:

  1. Employees recognize that innovation is a group effort
  2. The organizational cultures are marked by creativity, excitement, and desire to succeed.
  3. Competition drives companies to learn and do more.
  4. Organizations purposely weave innovation into their daily operations.

If you don’t recognize these characteristics in your own library, you’re not alone. Dobni cites research that finds that many organizations want to be innovative, but very few report that they have achieved that status.

Dobni’s innovation model has 3 main components: 1. Context – What management does to support innovation; 2. Culture – Employees’ collective thoughts and actions; and 3. Execution – Making innovation happen. Each component has sub-parts, but for simplicity’s sake, I will outline the major points from each category.

Context

Organizations must be willing and able to make substantial, fundamental changes to their cultures and operations. Without a commitment to do so from the top down, innovation has little chance of taking root. In fact, Dobni states the organizations may have to change up to half of their current processes to promote innovation. Furthermore, organizations have to be able to grab hold of emergent opportunities and be on the lookout for those opportunities at all times. Doing so is extremely difficult to achieve since a company is, in effect, allocating resources for actions that have yet to be defined, which entails a great deal of risk. Finally, organizations must be learning organizations. Organizations must provide educational opportunities, including education about innovation, for employees and also learn from employees.

Culture

In order to achieve and maintain an innovative organization, all employees must participate, not just a few “creative-types.” Also, employees who share common goals should generate and share useful information with one another, such as information about competitors and customers. Lastly, employees should be prompted to seek opportunities by exploring previously un-explored areas. Dobni refers to this criteria as “cluster enactment,” whereby employees study relevant business clusters (emerging technology, the industry, competitors, etc.) and are encouraged to go beyond those clusters or into new clusters.

Execution

This is where the rubber meets the road and where strategy is applied. One important element of execution is empowerment. Employees should feel empowered to make independent choices with the confidence that they have the capabilities to do so. Second, is risk-taking. As Dobni states, “[B]eing innovative involves a heightened risk propensity and it is inevitable that there will be false starts and failed attempts. The very essence of innovation is to get employees to think differently, to become adventurous, and to take managed risks…Tradition, however, is the crutch holding many organisations back” (175-176). Importantly, employees must be permitted to learn from failed attempts. Also important, successful, innovative organizations are those that can continually realign themselves with the competitive environment.

Granted, Dobni’s research pertains to an industry outside of our own, but I certainly detected commonalities between the two and believe it’s not unreasonable to adopt some of these ideas. What’s perhaps most striking to me in this article is the relationship between innovation and competition. In this piece, competition is something to be embraced to advance one’s own organization. We cannot always predict how the competitive environment will shape up, however, and so it is imperative that libraries allow themselves some latitude in terms for their short- and long-term plans. Perhaps more important than reaching Goal X is creating a culture that is responsive to the environment it’s part of and has the tools to respond appropriately in order to create real value for patrons. Librarians, as I see it, should make it a point to seek out competition even before it finds us, which will help make us sharper and more relevant to our user communities.

Please share your thoughts on this piece if you have an opportunity to read it.