Rapid cross channel prototyping
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Workshop at EuroIA 2017 in Stockholm. New and updated mapping techniques
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Rapid cross channel prototyping
- 1. Rapid Cross-channel Prototyping Andrea @Resmini EUROIA 2017 Stockholm
- 2. 2014
- 3. 2011
- 4. this is a quick and dirty breakdown of what we’ll do today in the 4 hours we’ll be together
- 5. quickly describe why we need a cross-channel angle
- 6. briefly detail what we mean when we say cross-channel experience design
- 7. define the base elements of cross-channel we can design with
- 8. learn how to apply them systemically
- 9. give it a run and see what happens
- 10. we’ll draw some conclusions at the end
- 11. in between, we’ll have coffee and something to nibble
- 12. digitization has blurred the distinction between products and services
- 14. digitization has blurred the distinction between digital and physical
- 16. digitization has blurred the distinction between producers and consumers
- 18. people freely connect competing products and services in emergent choreographies
- 19. this is an enormous shift
- 20. the idea we can design a perfectly bounded artifact and simply drop it inside a dynamic environment has become an increasingly difficult proposition
- 21. cross-channel ecosystem design introduces an actor-driven approach
- 22. cross-channel ecosystem design introduces a systemic approach actor-driven
- 23. cross-channel ecosystem design introduces an architecture-first approach actor-driven systemic
- 24. and a shift from a focus on products and services to one on experiences actor-driven systemic architecture-first
- 25. this is a radical shift actor-driven systemic architecture-first focus on experience
- 26. but one to approach very pragmatically actor-driven systemic architecture-first focus on experience
- 27. actor-driven systemic architecture-first focus on experience an experience is anything an actor considers connected to achieving a desired future state
- 28. “I went through my spreadsheet, collected all the receipts and invoices, logged in, checked what was there, added expenses, and filed my taxes”
- 29. actor-driven systemic architecture-first focus on experience it is not company-controlled nor company-bounded
- 30. actor-driven systemic architecture-first focus on experience the information architecture is the primary way through which we can make sense of the experience
- 31. actor-driven systemic architecture-first focus on experience focus is on the elements and their relationships
- 32. actor-driven systemic architecture-first focus on experience there is no ecosystem without actors
- 33. simple and easy. so where’s the catch?
- 34. we humans are a bunch of pattern-makers
- 35. sense-making is primarily a storytelling mechanism
- 36. we describe experiences as lines or paths
- 37. “I went through my spreadsheet, collected all the receipts and invoices, logged in, checked what was there, added expenses, and filed my taxes”
- 38. lots of streamlining here this is actually a complex experience which has been narratively simplified
- 39. we are not told of the opportunities, wrong turns, and distractions that were discarded along the way
- 40. need to file taxes taxes filed
- 41. need to file taxes taxes filed
- 42. here we have an initial description of the blended space of a cross-channel ecosystem in which this specific experience takes place
- 43. cross-channel ecosystems are semantic constructs that straddle digital and physical spaces, locations, devices, people, and contexts
- 44. cross-channel ecosystems identify a space of opportunity for intervention more than a finite artifact that can or should be fully managed
- 45. experiences are described linearly, while ecosystems are anything but linear
- 46. “I wanted to go to the movies, so I checked IMDB, DM’ed a friend, no Netflix, tried to book dinner, skated all the way, got tickets, enjoyed killer clowns”
- 47. IMDB
- 48. WHATSAPP IMDB
- 49. WHATSAPP IMDB
- 55. fancy, but hardly representative of the many possible individual paths everyone else might decide to take
- 56. clarity only comes through compounding many individual paths into a larger, common map
- 59. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE FRIEND’S HOME BUS DINNER PS4 BOARD GAMES PHONE PIZZA PLACE WHATSAPP SKATES BOX OFFICE IMDB MOVIE YELP WHATSAPP BOX OFFICE IMDB MOVIE BUS SMSWEBSITE
- 60. all traditional user research methods and especially ethnographic methods are fair game
- 61. mapping an ecosystem involves identifying a number of primary elements and their relationships
- 62. actors, tasks, channels, touchpoints, and seams
- 63. an actor is any agent in the ecosystem trying to achieve a future desired state
- 64. a task is any activity an actor performs towards that state
- 65. a channel is a pervasive, ecosystem-wide information layer
- 66. a touchpoint is an individual point of interaction
- 67. touchpoints are vessels for information
- 68. touchpoints are medium-specific, but the information they convey is medium-aspecific
- 71. channels are an abstract design construct
- 72. they might reflect the formal sectioning of an enterprise architecture model, be the result of content analysis, or emerge from the project’s own goals
- 73. WHATSAPP SKATES BOX OFFICE IMDB MOVIE NETFLIX BUS YELP RESTAURANT SMSWEBSITE FRIEND’S HOME BUS DINNER PS4 BOARD GAMES PHONE PIZZA PLACE WHATSAPP SKATES BOX OFFICE IMDB MOVIE YELP WHATSAPP BOX OFFICE IMDB MOVIE BUS SMSWEBSITE
- 74. movie social transport food 3
- 75. a seam is a threshold between touchpoints
- 77. while experiences should be “seamless”, sometimes seams should be visible or perceptible
- 78. for example, when moving from a secure to an unsecure connection
- 79. elements in an ecosystem are polymorphous
- 80. an actor could also be a touchpoint
- 81. the mapping out of these elements is the beginning of a cross-channel design process
- 82. pragmatically, the starting point is the formulation of an individual, social, or organizational pain
- 83. “are we increasing the number of paying customers?”
- 84. conceptually, it’s the actors’ experience
- 85. “I listen to music when I’m driving”
- 86. interventions within an ecosystem broker between the different instances presented by the ecosystem itself, the actors, and the designers’ own vision
- 87. here is where we start our learning exercise
- 88. “let’s make courses BETTER!”
- 89. “I enroll in a course because I have to”
- 90. how do we bring these together?
- 91. it’s actually a simple process
- 92. we start mapping individual paths using a rather simple topplogical syntax
- 93. D. Willis, Intent Paths (2011) - https://www.flickr.com/photos/uxcrank/albums/72157626618631035
- 96. REMOTE LOCAL
- 100. PATH B PATH A Office Text Text Website Theater Kiosk Friend Movie Text Text Bus stop Bus stop Theater FriendHome
- 101. Movie PATH D PATH C Home IMDB IMDB Website Netflix Movie Website Reddit App Theater BoothSchool Bike
- 102. and we create an initial draft of the ecosystem
- 104. this is accurate, but we risks focusing our attention on linear relationship.. this is better:
- 106. LET'S DO IT
- 107. thank you @esmini - andrea.resmini@ju.se