(I published this on Ethnography Matters)

What are ethnography’s doings? I mean, really, how do you describe what exactly an ethnographer does? S/he watches people? Explains people’s feelings? Translates cultural ideas into concrete stuff? I’ve come up with some interesting ways that work for me to describe my work, but it still requires context and to a person who has never worked with an ethnographer before, it’s not always clear.

Heller Communication writes about the invisibility of socially innovative design.

Design for social innovation begins with the design of conversations themselves – it requires treating a conversation with the same care, and the same planning, that would be appropriate for the design of a product. Conversation starts everything – and yet we rarely think of them as an opportunity for design. This is not only the most important, upstream part of the systems that we need to change, it’s the fastest way for a designer to become a vital part of a strategic initiative. It’s where things begin, and where the most important things are decided.

On the hard side, it doesn’t provide much of a portfolio. Nothing to enter into design competitions, few samples to put on your website, harder to explain at a cocktail party just what it is that you do. In fact, most of the invisible things you’ll be designing are private and sensitive to CEOs and leaders of all types of organizations. You can’t even talk about them. This can be a tough shift for designers who are loathe to give up the artifacts of their work. Of course it doesn’t mean that you won’t design any artifacts, it only means that they will be the last thing you design, not the first.

The implication for Design for Social Innovation is that the most important design of all is invisible. It’s not the “stuff”, not the artifacts, not the technologies. It’s the beliefs, the ethos, the values, the systems behind the campaigns and products and events that form them. It’s designing events and products and behavior before they happen. And that is precisely where we need to be designing.

While they were talking about designers, I thought it was super relevant for ethnographers. The key point they emphasize is that great design starts with stories. I would add that for ethnographers, we don’t just listen to stories, we look at interactions and the field of ethnographic research has developed methods for the observation of human interactions.

There are two broad ways (though not limited these two) that ethnographers work inside a company. They either participate in the design process from the beginning or they come in after or in the middle of a product design.  In both cases, ethnographic work can often be invisible, but I think it can be harder for ethnographers to come in after a product has been designed.

(I use the words products & services interchangeably).

Ethnography all the way – Ethnographers often work with teams whose sole focus is to bring something to the market whether it be a product or service. Engineers, programmers, and designers all want to figure out the next big hit for the company and the industry. In this kind of milieu, you need people who can give you insight into what users want and what new “stuff” users could  incorporated into their everyday lives. Ideally, ethnographers need to be part of the design process from the very beginning and throughout the whole process as equals with other team members. So an ethnographer’s role in this case is to provide insights into features or assumptions that will not work for users. Depending on how much users are valued, this role can be seen as the voice of doom or the voice of wisdom. This strategy, often called user experience, has been cited as a core aspect of Apple’s success. Apple is great at minimizing a product’s complexity while delivering a fulfilling user experience. Steve Jobs has emphasized the importance of a social science & humanities perspective in designing products because it helps one understand the human experience. Why do we need to understand the human experience? Because technology is designed to fulfill social needs, not technological needs. Companies that connect with the users understand and practice this mantra to their core.

Ethnography mid-way – Ethnographers also work with teams who are trying to perfect or build on an existing product/service through user testing strategies. By this stage, assumptions about users have already been built into the product. So in a context where ethnographers are brought on after the product/service has been designed, they can guide the team through assumptions that have been made about user, how these assumptions affect users, and which assumptions are helping or getting in the way of the user experience. But this isn’t always the case.

In many cases, ethnographers are brought on with the sole expectations that they will give recommendations for how to create a better product. The issue here is that it’s hard to get to better without engaging in a conversation about what existing features don’t work; you can’t just keep adding without a reflection on minimizing. It’s often confusing for ethnographers who are in this position. It’s not that they don’t want to provide suggestions for how to improve the user experience, but programmers or designers often frame ethnographic critique as a case where the ethnographer does not appreciate or understand the full value of the technology.

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Ethnography mid-way and ethnography all the way have their own set of constraints. But both processes have to grapple with the invisibility of their work. One way to overcome this is that ethnographers have to find ways to visualize their work. Visuals make recommendations tangible and demonstrate the ethnographer’s value. This is one of the reasons I value and love learning from designers because they are experts at visualizing their process. Design used to be invisible or an after-thought. But with design companies like Frog and IDEO, the field of human computer interaction and design at large has really benefited from their process of formalizing design methodology.

I was at a conference and overheard a conversation about X company’s use of ethnography. Anika works at a well known tech company who has a whole team of ethnographers with multi-disciplinary backgrounds in anthropology, design, sociology, ethnomethodology, and psychology. The company produces various digital products and services.

Lestor: How is ethnography useful to the products your company creates?
Anika: It’s been useful in what you don’t see, the products we haven’t brought to the market.

I thought this conversation was such a lovely illustration of a specific way to explain the practical and financial benefits for companies to hire ethnographers.  It’s often hard to justify or show evidence of an ethnographer’s achievements because ethnographic work inside companies can often be invisible. Ethnographic insights can help a company figure out which products work for now, which products need to be shelved, or which products should be kept in R&D for well, more R&D.

As Jeff Yang reminds us in his tribute to Steve Jobs, great design is just as much about absence and elimination.

Dan Lockton’s blog post announcing his PhD, ‘Design with Intent: A design pattern toolkit for environmental & social behaviour change,” is super inspiring. 

My PhD involves developing a ‘design pattern’ toolkit, called Design with Intent, to help designers create products, services and environments which influence the way people use them. The toolkit brings together techniques for understanding and changing human behaviour from a number of psychological disciplines, illustrated with examples, to enable designers to explore and apply relevant strategies to problems.

I always love keeping an eye on thinkers whose work engages with academia and industry. Like Christina Dennaoui, Leila TakayamaDanah Boyd, Barry Brown, Laura Watts, Paco Underhill, Nicholas Nova, Julian Bleeker, Lyn Jeffery, Jane Fulton Suri, Ian Bogost, Sam Ladner, John Battelle, and  James Landay. I try to learn from their work because they draw on academic research yet communicate their thoughts without the academic jargon. 

I now have to add Don Lockton to the list!

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Lately, I have been dreaming up of a visual component to my dissertation when I write it up next year after I finish my fieldwork in China. I have a collection of small books, pamphlets, guides, and materials from organizations that give me inspiration for my creation.

One of my favorite examples is Laura Watt’s ethnographic work on Orkney Islands in Scotland. We were both guest lecturing at Irina Shklovski’s seminar at IT University in Copenhagen, and Laura gave an amazing presentation about her research. In addition to her talk, she passed around a fieldwork tool kit that  created to help clients understand her research. I remember that her research was one of the first and few times (to date) where I can hear the word “innovation” and not roll my eyes. She created a beautiful book of stories and poems about possible futures of Orkney Islands and a digital booklet about the future scenarios of infrastructure.

Oh and another super cool project coming out of academic research is Reframing Mexico City, an interactive website from University of North Carolina School of Journalism and Tecnologico de Monterrey. To create part one of the scenarios on the website, UNC & TM students used data collected from UCSD Center for Comparative Immigration Studies’ (CCIS) interviews with Mexican immigrants on how they crossed the border into the US (research led by Leah Muse-Orlinoff). Data from the interviews were used to convey the perils and experiences of clandestine border crossing in Tijuana, Tecate, and Sasabe. Then users on the website actually have the opportunity to experience the border crossing - they get to “make decisions about where they would like to cross, how much they want to pay a coyote, and what to do when confronted with certain obstacles such as apprehension by the border patrol, extreme climatic conditions, and injury.” This is an excellent example of how academic research can be turned into story-telling and creating empathetic experiences.

Well, now I get to add Lockton’s toolkit to my collection! He (and David Harrison, Neville A. Stanton) created a wiki for the toolkit where you can download the cards and purchase a set.

Reading his dissertation summary reminds me of all the educational toolkits that I created for workshop that I led before I started my PhD. (I created conferences and workshop for educators on how to incorporate popular culture like hip-hop into educational curricula, and how to use new media in after-school programs in low-income communities.)

While my dissertation is vastly different from Lockton’s and making a toolkit does not make sense (at least for now), it’s inspiring to see how it could be done. It makes me excited to figure out the appropriate tools to create when it comes to my dissertation!

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Aside from creating a lovely tangible set of materials, Lockton’s dissertation has intellectual teeth.  His primary research questions is:

Can industrial designers use the Design with Intent toolkit to apply insights from other disciplines (psychology, ergonomics, architecture, human-computer interaction, behavioural economics) to generate novel, realistic design concepts, addressing briefs on influencing user behaviour, primarily to reduce the environmental impact of technology use, but also in other social benefit contexts?

One field to add to the disciplines that he’s mentioned is Sociology! While psychology helps you understand beliefs that influence user behavior from an individual’s point of view, sociology takes a more meta approach by situating beliefs that influence the user from a communal point of view.

Drawing on sociology would compliment Lockton’s last section that seeks to understand designers’ and users’ mental models about technological systems.  Sociological research on culture and group interaction can be incredibly useful to answering how mental models affect designers. Mental models are culturally grounded. As such, one has to understand the broader context of the society that that the designer AND user is embedded in to really get at this question.

Now I already anticipate some academic purists arguing that Lockton’s dissertation is super normative  - he’s explicitly trying to change user behavior, or that his work is too subjective - like creating his own index of measurement for his own products, or that it just isn’t academic to do a dissertation on something that one invented for industry use. But that’s really not fair to say this. Physicists, geneticists, or educators come up with their theories or ideas all the time and test it out with their dissertation. And just because research is normative form the get-go doesn’t mean that this isn’t legitimate academic research. Lockton is explicit in his research questions, and I think that is most important. Whereas many of academic research is hidden in super jargony language that is trying to prove something they already believe in, but hiding it under the cloak of reflexivity. Reflexivity is a mirage (according to Mike Lynch).

Thank you to Mark Vanderbeeken for tweeting & blogging about this!

It has become commonplace to regard the high-tech and creative industries as part of a new cosmopolitan wave in which difference is not just tolerated but welcomed, and many have argued that diversity is at the foundation of its success (Saxenian, 1999).

However, one study takes the archetypical post-ethnic world of the software industry in west coast US (Reitman, 2006) and holds it up to scrutiny. Meredith Retman argues that the vaunted multiculturalism of these ‘creative class’ businesses is based upon the laid back and very liberal, but nevertheless unyielding, assumption that the accepted codes of behaviour and cultural values for all the black, brown, yellow and white colleagues will be those of the boys who have been brought up in all white schools and who live in all white neighbourhoods. She argues that claims of ‘colour-blindness’ in such workplaces are based upon the ‘whitewashing’ out of racial politics of inequality leaving behind a shallow and exotic multiculturalism of food or music.

The Intercultural City, Phil Wood & Charles Landry (p. 144)

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