Author Archives: alicia

Why This Anthropologist Loves (and is frustrated by) Design(-ers)*

*Warning. This is a guise to promote the app, Design School Cheats, which I helped create with the lovely and talented Cara Oba and Kyle Oba of the design shop, Pas de Chocolat. At this time, it would be appropriate to visit iTunes and download it. The first section “LOOK” (like a designer) is free.

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Anyway, what was I saying?

I stumbled into design from an already frustrated place. The year is 2007. I had a BA in Fine Arts that was a blast to obtain. I love art, galleries, museums. But had little job prospects outside of secretarial work in galleries and museums. Not that there’s anything wrong with secretarial work. I’m just bad at it. Had I gone to secretary school for 4 months I could have done my job better. So I run back to the university to do a master’s program. In applied anthropology. Using anthropology to solve problems. The trick with applied anthro, is that you have to find something to apply the anthropology to. I went around looking for problems to solve.

And you know who loves solving problems? Yup. Designers.

My prof, who had worked with the chair of industrial design for several years, hooked me up with a design project, working with design students. Which led to another design project. Then another. Pretty soon, I was in the design trenches, brainstorming, post-iting, concepting, ideating (psst, those are really all the same activity).

What’s frustrating about design, where is the rub against anthropology? In broad strokes, Designers tend to

  1. jump to solutions.
  2. make assumptions about who they are designing for and what they do or want.
  3. care more about how a presentation looks than making sure all the words in it are spelled correctly.
  4. be hyper-aware of what’s cool or not, and put effort into making sure that they are on the cooler side.

But, what I (especially at first) found frustrating about design, is now why I continue to seek out design work and design partners. Solutions are a way to test theory. Get the idea out in the world and see what happens to it. We can research forever, and not know how to move forward. Gotta jump at some point. Making a presentation look awesome, makes people want to engage with it. If I work with a cool designer, someone who is on the forefront of trends, then I don’t have to look cool all the time.

This is part of the reason why I was interested in co-creating Design School Cheats. Because I am frustrated by design and like to poke fun at designers and design process (like when we say “designers don’t read” – cheat #24). But I tease from a loving place, and I have done a lot of interesting work only because designers make work interesting.

Now, I’m in a haze, not a pure anthropologist, not a designer, but a curious admirer and connector of things and ideas.

If you want to learn more about design, or maybe you are designer that needs a little laugh, check out our fabu app: Design School Cheats. Did I mention it’s free? Also, don’t be startled by the 17+ rating. We mention drinking and smoking and sometimes say “shit” and this makes us debauched.

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synchronize: what we are all doing at the same time

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I watched a tiny piece of Christian Marclay’s The Clock at SF MoMA last week. From 4:37 – 5:05 pm or so. If you’re like me and had not heard of the work before, he (and most likely an army of unpaid interns) stitched together thousands of movie clips that reference time and matched each clip up to the actual time, minute for minute, for 24 hours. I thought it’d be a crazy hodge podgery, but the scenes, despite being from completely different movies, flow into each other quite well and create a unique narrative. It also makes for a great game, who can spot the clock reference first.

What I liked most about it, was thinking about what specific activities are time-bound. Around 5pm I saw:

sitting in an office eying the clock

working in factories

punching time cards

leaving train stations

meeting people

talking on the phone…

This made me think about our synchronous activities. If I’m eating breakfast at 7:30am, how many 1000s of other people are doing the exact same thing at this moment? Doesn’t it remind you of that scene from Amelie? The part where she wonders how many people are having an orgasm at this precise moment. And there’s something very comforting about this normalcy. I find comfort in the communal nature of every task, even if I’m doing it by myself.

What most commonly happens at 12 midnight in movies? New year’s or turning back into a pumpkin. What about 3am? Something dark, dangerous, or naughty?

What else is going on at this precise moment in time?

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A Typology of Selfies

Most people I know take selfies. And some of us have the decency to be embarrassed about it. Why? Because most of them are examples of us trying to show off for the social media world -  lips pursed, hand in hair, chin down (aka jowls hidden).

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I just took these, but you get the idea. They’d be even better with a slutty top and tons of makeup. The dead give- away that it’s a selfie is the disappearing (usually right) hand and foreshortened arm.

We have a love-hate relationship with these kinds of photos. We take them, yet they make us cringe. But in fact, there are many kinds of selfies. And what if we knew the stories behind these different types? Would that make them more endearing?

To start, there’s the selfie that a colleague or employer asks you to take. They probably actually mean for you to send them a real professional pic, but I’m too cheap for that. I took this photo one morning for the website of a conference I help organize.

“Professional” Selfie

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Not too embarrassing, yeah? I had taken a million the night before, but once you try too hard to look natural + professional + fun, but in a serious way, your face starts to hurt. For this, I was up against the deadline. I just woke up, got dressed, and snapped.

Still serious, but also self-aware of the silliness of the exercise, is what I usually put on my social media pages.

Social Media Portrait Selfie

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This was early last year. I was so sick that day. But I was also sick of being in my apartment. So I crawled to the Cantor Arts Center and into this Richard Serra. I like that I look grumpy. I like that I’m listening to headphones for some reason. I really like that I’m standing in a Richard Serra piece, but you probably wouldn’t know it if I didn’t tell you.

Sticking to the serious theme for a minute, I’ve tried the “thinky” selfie. I took this one night probably watching some shitty tv show.

The “Thinker”

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We can do the thinker of another flavor too. Trying harder to be arty perhaps.

The Thinker, All Thought Out

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So far, we’ve been professional and arty. When I say arty, I only mean that the photographs are not the most flattering, but I’m still somehow proud to show them to the world.

Now, this is where we start sliding back into asshole territory. The “I’m in a cool place and want to show the world.”

“Proof I Was Here” Selfie

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This type can coexist with other categories. Here we have, I’m in a cool place and a “reflection” selfie in the Seoul metro.

Window Reflection Selfie

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Mirror Reflection Selfie

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(This type also commonly occurs in bathrooms). This photo is in fact a threefer, “I’m in a cool place” (Shanghai flea market), mirror reflection, and a little bit of a “where’s waldo” selfie (other examples  of this occur on cups, cutlery, faucets, anything where your reflection is hard to find or not immediately obvious.)

Faux-accidental selfie

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I took this in Seoul at the Leeum Museum of Art. Ahem, that’s a cool place right? The only redeeming quality is perhaps the angle. I could title this “chin, nose, and sideburn.”

Finally, here’s a rarity for you. A truly, honest-to-god, accidental selfie.

Truly Accidental

photo me

I was taking photos out the window and took this, I guess, bringing my hand back down to my lap. Funnily, this could be in a series with the faux-accidental, entitled “chin and nose.”

There are lots, lots more types, but I think I’ll stop before we hurl, yes?

So, did the stories help? Or do we still love-hate the selfie? In any case, I got to show mine off to you. So thanks!

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For more on the social-psychology of selfies, read this Mashable article.

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Portraits of Strangers

I recently went on a business trip to Shanghai and Seoul. One week in each city. Like many folks on Instagram, I enjoy taking photographs of people I don’t know in public. Strangely, I realized that the majority of photographs I take on the street are of men.

MEN

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Often, these men were in motion…

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Most of the time they don’t notice me. But sometimes they stare back.

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Sometimes they were from a distance.

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I noticed that I took more photographs of women in the subway.

WOMEN

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Sometimes they were asleep.

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Often, I was trying to keep up…

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Sometimes, I felt overdressed…or underdressed?

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Corporate v. Studio Work Environments

This list is going to look pretty stereotypical. Which, you know, it is. But it is also based on my transition from corporate work environments to design studios and consultancies. These differences are so stark, it’s almost laughable. Obviously I prefer the studio style work environment. You can read more about corporate purgatory in a previous blog post here.

The most bizarre work environment that I have experienced was a hybrid of the two. It was a new innovation group within a huge corporation. They hired designers and set up a few tables with macs, and we all worked together openly. But everyone else in the office worked in cubicles. It was the strangest sight to wander through cubicle-land then to arrive at a tiny oasis of openness, nicer looking technology, toys, etc.

Feel free to add to my list, I’m sure there are many more differences:

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The “insights” process is not mystical, but it is creative

The most common output of my work are “Insights.” Yes, capitalized, because that is usually the title of the report or slide deck or presentation or whatever it is that I am producing for a client. I usually do ethnography (“ethnography lite” to real anthropologists or just “ethnographies” to most regular folks in the know). Ethnography is pretty trendy these days amongst design firms, ad agencies, corporate research centers and the like. For the most part, it means going out into the “real” world and discovering something about it that you can use in business. I might have a project about photography for Nikon, for example. I’ll go out into the world, interview 10 people about photography in the context of their daily lives. I’ll observe them on a photo-taking expedition, watch their process, ask questions, and try my hand at photography. I am the learner; the participant is the expert.

After all that, I have maybe 30 hours of video, or 100s of pages of transcripts and notes. Here, we sprinkle some magic dust, say a few magic words, and poof, INSIGHTS appear. But this can only occur after weeks of wading through the research, scanning for patterns, diving deep in particular aspects of the research.

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where’s the insight? peek-a-boo!

Both these ideas – that Insights are mystical and that Insights take a long time to develop – are lies. I was chatting with a colleague the other day about our project time line. She was explaining to me how we should have a workshop to share Insights with the client immediately after collecting data.  The purpose of the meeting is so that everyone (clients and researchers) can share their ideas about the research and have a voice in the process. Getting “buy in” you might call it. She says to me, “we kind of know what we want to say right away, even before the research is done.” Having an Insights meeting sooner is ideal because the time consuming part is editing video clips and creating presentations, not the analysis.

So why can’t Insights happen sooner? Clients usually like to believe in the mystical powers needed to “discover” Insights. They are paying good money for these Insights. It should be a hunt. A challenge. Not for the average lay person. With this in mind, we push back our Insights meeting a couple weeks, so that it appears that we’re searching, sniffing them out, hot on the trail, but never quite there.

hmm, what can it mean?

hmm, what can it mean?

I used to think this way, too. That the Insights should be a struggle. They should be reworked and torn apart, put back together again in new ways. You gotta earn it! That’s where our bread and butter is. Discovering something shocking in the research. Something that only we, trained professionals, can see.

research is messy!

research is messy!

However, ethnographic findings are rarely shocking, or even novel. I’m not going to do a photography project and find that most people actually take photographs with their feet. We’ve been designing the camera all wrong this entire time!!

Not mystical, not shocking. But insights can be exciting, when you turn them into usable tools. Most designers and engineers I know don’t want to wade through piles of research. They also don’t want a boring descriptive account of what occurred. They also don’t necessarily want to be shocked by the research.

oooh, that's how it's done, huh?

oooh, that’s how it’s done, huh?

Designers have specific questions that you can answer based on what people are doing. What are the main points? And what’s the point of what you’re telling me? They want direction. But mostly, they want to be excited to create and build. What this means for ethnographers, is that we can be a lot more creative on our end. Yes, we share the findings in an objective and fair (not boring) way. But we get that part done with quickly. Then we move onto the inspiring part. What do photographs mean and how can we help people achieve their goals? How might people want to do this in the future? We can motivate teams of designers and engineers to create something interesting and usable through playful activities, workshops, and tools that are something between research and design. And we get to participate in answering those questions. We, too, are creative. The Insights process might not be so mystical but that’s OK with me.

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What your notebook says about you

I was scrambling to get ready for my morning meeting last Friday and realized that I was out of notebooks. I had just finished my Creativity Explored one,

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which is tiny and noncommittal, the equivalent of a hotel notepad with a cute cover.

I flipped through my red moleskine, just in case there were any blank pages left in that one.

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There weren’t. In a pinch, I usually use my agenda book, but my new 2013 one has little room for notes.

(I love paper, if you couldn’t tell by now.)

I’m running all over my parents’ house (which is where I crashed last night) looking for anything to write on, loose leaf paper, backs of envelopes, anything! “They don’t even have computer paper, what animals!” I grumbled, checking the time. At this point, I’m pawing through my dad’s office, which is crazy messy, and come upon these beautiful notebooks in his bookcase. I always forget that he is a bit of a writer himself. “These are really nice. Too nice to steal? Hmm. He does have two, though. And they are both blank.” I rationalize. He leaves for work before 6 (and it’s way later than 6 right now), so I text him to see if it’s OK to steal one. I don’t get a reply. It’s too late. I run out the door, notebook in hand.

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This notebook is large, bigger than your standard 8.5×11″ anyway. The weight of the pages is heavy. The backs are blank and the fronts are gridded, with space for project titles, page numbers, and extra bookmarking info. The ink is green.

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I like this notebook because it feels like I’m doing scientific experiments. It elevates the importance of the notes, without the pressure to come up with grand conclusions. Experiments fail all the time.

I also like the science-y feel of this notebook because it makes me think of Field Notes on Science and Nature.

fieldnotes

I love this collection of famous(-ish) scientists’ notebooks. Scratchings and musings. Its purpose is to share observational notes from the field, ones that usually stay hidden in filing cabinets or personal libraries. And each set is as idiosyncratic as its author. Its contents capture seemingly unimportant, fleeting impressions. Only after many seasons, or even decades, of field research do models start to form and the scientist is able to draw patterns and larger theories about the world around us.

Why does any of this matter? Because your notebook says a lot about you.

First, the notes themselves. Notes are in your handwriting and drawing style. They reflect your view of your environment and interactions, how you receive, interpret, and consider your personal experiences. Mine are rambling and messy, and usually have an expiration date. The more time passes, the less likely I’ll be able to read them.

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Second, the notebook format says a lot about your design sensibilities. A yellow legal pad is different than a composition book which is different than a tiny spiral bound book which is different than a sketchbook. You get the idea.

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Aaron Draplin‘s Field Notes, for example, are hugely popular among designers (although, I admit I didn’t know what they were before I heard Draplin speak at CCA.) Field Notes are simple, beautiful, and functional by design. They are pocketable.

field_notes_notebooks

Yet, the moleskine is still the quintessential designer’s notebook. My buddies at Pas de Chocolat and I go into this more in the app we’re making about design. Stay tuned!

Third, the notebook as prop declares your level of engagement. What kind of attention you are going to pay to the situation you are in. You show up to a meeting and lay it on the table. More often than not these days, it’ll be your laptop. But I find this to be disengaging and a barrier to interaction with the people in the room. I bring a laptop if the meeting is not that important and I want to daze out and check my email.  My old manager had a huge notepad (maybe 11×17, maybe bigger) that really made an impression in meetings. “Whoa!” people would inhale sharply as she opened it in front of them. I couldn’t decide if it was the equivalent of driving a big truck or if it really did help her think. Maybe a little of both.

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12 to 13 inclinations

We had a great time musing and rambling this year about art, design, and social awkwardness. Thanks for reading.

I hate the word “trend” so we’ve compiled “inclinations” for you instead. These are some of our favorite things from 2012 that we hope will continue into 2013. We love:

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1. All that is hand-crafted, locally-produced, crunchy granola goodness. Shout out to Public Glass, Workshop, San Francisco Center for the Book, Allied Arts Guild, in fact to all craft fairs, art walks, um, Portland, popup hoodletterpress workshops, wood workers etc. etc.

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2. DIY lovin for food. Who in your life isn’t making their own bread, cured meats, cheese, pickling, and making a batch of micro-brew in their tub at this very moment? Mawana winery and micro-brew in Los Gatos is our fave (but we’re biased). It’s so local and micro that it doesn’t even have a website.

3. The back-to-the-woods look. Wood paneling, well, everywhere – in restaurants, cafes, apartments, bus stops. Cabin porn. Amish chic but with iPads.

4. Commune living (but with toilets), live/work lofts, and nude frolicking.

5. Reupholstering and repurposing in general. Why build new when there is so much out there already?

6. Moving our bodies in new (and I guess, old) ways. More walking, bike lanes, self-driving cars. Here’s hoping that BART actually gets extended from Fremont to San Jose (gotta believe it’ll happen guys).

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7. Knowing where our food comes from. CSA, food co-ops, exchanges, foraging. local, local, local. Urban gardens. Urban beekeeping.

8. Shifting from “users” to “people.” Standing up for our digital rights, and have a better understanding of where our data goes and who makes $$$ from it.

9. To start reading again. Big, hefty tomes at that.

10. Single-tasking.

11. Business models that don’t involve selling our data to marketers. For example, let’s take Louis CK. He produces his own content and sells directly to fans on his own website. Beautiful. Or take my friends’ design/build shop, Pas de Chocolat. Their motto is, “if we don’t do it ourselves, we do it with collaborators who share ownership.” Isn’t that cool?

12. Shorter commutes. I propose moving all of the Bay Area into San Francisco. Then we can make some real public transport and call it a day. This week I’ll drive to San Jose, San Francisco, and Berkeley for work. This is not OK.

13. Beards and the cool barber shops that go with them.

Last note. Something that we’re happy to see go: All things apocalypse related. I’m looking at you History Channel.

HAPPY NEW YEAR!!!

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Holiday Cookie Binge Recipe

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Ingredients:

3+ lbs unsalted butter (“European style” preferred)

1 bag unbleached flour

sugar, sugar, sugar (white, brown, molasses, crystallized, powdered, candies…bring on the sugar)

1 bag 99% cacao, unpronounceable, super snobby chocolate chips

accoutrements of your liking: walnuts, pecans, rolled oats, seeds (poppy, sesame etc.), spices, jams, and so on.

a pinch of self-loathing

baking tools (cookie cutters, rolling pins, etc.) that are at least 20 years old

10-12 hours to kill

a partner in crime is ideal, but not necessary

xmas

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I rarely bake. I swear. This year, for some reason, I found it necessary to make 6 batches of holiday cookies: several sets of Sunset’s big oatmeal chocolate chip cookies (the old standby), snickerdoodles with cardamom (which kinda sucked), shortbread with jam, and gingerbread reindeer. Actually, I kinda blame a friend for starting the obsession by inviting me to her cookie exchange.  I love using my mom’s and grandmothers’ baking stuff that I remember from my childhood. The worn grooves on the rolling pins and scratches on the cookie cutters really feel like the holidays, you know?

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Hoping you had a fun holiday binge of your own that your thighs and bum now regret.

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oh man, way to party foul, Instagram

Just as I was finishing up a nice little blog post about all the fun social connections and playful experiments that can happen on Instagram, they go and change their Terms of Service and piss everyone off. I saw people dropping like flies yesterday, announcing their departure from instagram before the new year. We’re talkin heavy hitters: an art gallery owner (who posts artists’ work and updates about the gallery), an anthropologist at Intel who has written extensively on technology, design consultancy founders, startup founders, people whom I respect. Without the people, Instagram is nothing. The reason I loved it is that so many people were using it openly. I could be in a design firm in Berlin one moment and a design school in Tokyo the next.

And then this…

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Damn it.

As someone who wrote about technology trends and privacy at her previous job, I know the importance of taking a stand. Users have to quit services to protest unfair data usage. The company benefiting from user data is rarely the user’s advocate unfortunately. I get it.

And luckily, I think most of the people I’m following are going back to Flickr (which I thought was done for sure because last time I was there pulling images for a presentation, all the photos I picked were from 2009.) It’s back baby! Part of the appeal is that they let people choose their own copyrights.

For expert takes on the Instagram fail see: NYT’s What Instagram’s New Terms of Service Means for You and Mashable’s less subtly titled Instagram signs your life away.

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