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Deanna Glaze

Deanna Glaze

I'm a user experience designer at Microsoft. I've spent most of my career as a visual designer/art director and consider myself a hybrid designer. I'm interested in anthropology and how social media is affecting the way we relate, connect, and collaborate.

Better Experimental Design for Better User Testing | UX Booth

A horse

 

I read an article this weekend about Illinois police officers whose subtle gestures invoke false positives from their detection dogs. This article speaks about experimenter bias that can happen when the person conducting the test inadvertently influences the results.

As someone who is invested in the design of a product, it is highly unlikely that I can keep my bias out of my tone and gestures when facilitating user testing groups. It is also nearly impossible for product managers, who bring their own bias, to not taint the testing. I am a strong advocate for having neutral ux researchers write the testing script and facilitate the testing.

User testing is a great tool but it is inherently flawed. Testing subjects want to please, no matter how great the care you take in framing expectations, and they are in an unnatural (to them) environment. Invest in ethnographic research; well-defined qualitative research frames the problems in a way that allow ux to define efficient, elegant solutions...that can then be validated by user testing before launch. :)

~Deanna

 

 

via uxbooth.com

An ordinary Orlov Trotter horse, but is it capable of mental arithmetic?

User testing is a key part of validating design decisions, but what if the design of the test itself is invalid? As a researcher, being aware of the pitfalls that affect experimental design ensures your test can lead to more elegant end user experiences.

In the late 19th century a horse known as Clever Hans astonished audiences with his ability to stamp responses to arithmetic questions. He did this with startling accuracy. His infamy grew until an investigation determined that Hans was, in fact, only able to respond to subtle cues in the body language of his trainer.

This phenomenon became known as the “Clever Hans effect” and highlights the potential for flawed experimental design to produce misleading research findings.

Never work with children or animals.

W.C Fields

The Clever Hans effect reminds us that the charming vulnerabilities and character flaws inherent in people make research design as much an art as it is a science. The following behaviors reveal more challenges that have faced researchers over the years plus some techniques for overcoming them.

Experimenter bias

In his 1979 paper, Bias in Analytic Research, David Sackett identifies a long list of bias forms that can impact the validity of research into people. Specifically, knowledge and expectations of the person conducting the test can influence the findings.

This shouldn’t surprise us. User testing is particularly susceptible as it tends to involve people that have an emotional investment in the project at hand. These project members take qualitative notes while observing a participant, after all.

To counter this bias, a user test should be conducted by at least two people: one person who maintains a dialogue with the participant; and an additional person who takes notes. In order to ensure a fair account of the test, the second person should be someone that’s not directly involved in the project but rather someone briefed to capture feedback as they receive it.

The Hawthorne Effect

Alt Desc

 

Under test conditions a tardy workforce can become a hive of activity.

It’s not just the person running/recording the experiment who’s likely to exhibit bias, though. Researcher Henry A. Landsberger found that, while workers don’t become more productive in different light conditions (as was hypothesized), they do work harder when being observed by a team of scientists.

This relates to a strange habit a lot of researchers seem to adopt. We send out invitations to a “User Testing Session” and the first thing we explain to our participants is that we’re testing the application not the user. Why not just call the session something else? This is probably the smallest change that can have the greatest impact on validity.

Better alternatives might be:

  • Application test
  • Application review
  • User research
  • Research study

Benchmark first

The Hawthorne Effect tells us that people feel self-conscious when being watched. Lucky for us, it’s relatively easy to observe people from afar by performing remote research and/or web analytics. If conducting an in-person study is the only way to go, though, the Hawthorne Effect can be better neutralized by first benchmarking the task.

For example, let’s imagine we’re testing our new website selling shoes. We want to examine the findability of products but we don’t have any definitive analytics. We do, however, have stats for how long it takes to complete registration. Although we’re not particularly interested in registration in this test, we could begin our tests by asking users to register. Then we could compare the time it takes users to register in-person with the time measured via analytics. The comparison lets us calculate a variance which can be applied to the rest of the research findings.

Demand characteristics

The Hawthorne Effect is just one of a variety of “demand characteristics.” This term refers to the tendency for participants to form an interpretation of the desired outcome and try to conform to or rebel against that vision.

Weber and Cook (1972) identified 4 personas to capture the tendencies of test subjects:

  1. The Good Subject – keen to give the experimenter the data they’re after
  2. The Faithful Subject – honest despite anticipating the expected result
  3. The Negativistic Subject – determined to give contrary data
  4. The Apprehensive Subject – awkward and keen to give the socially desired response

Let’s briefly discuss how these personas can affect your research.

Screw you!

An angry looking goose

 

“Screw you buddy!” Some participants will intentionally sabotage test results.

Persona #3, exhibits the “Screw you effect” that can be observed when inviting members of a team to participate in the test of a competing product. The solution to this problem lies in figuring out how many people you need to include in order to push these side-effects into insignificance.

Jeff Sauro provides a Sample Size Calculator for calculating the number of subjects required to produce data that is not just significant but can be extrapolated with confidence. Although this tool is not designed specifically for overcoming demand characteristics, considering the recommendations should give you a better idea of a suitable test sample.

A “Double blind” approach (intentionally misleading proctors and participants as to the purpose of the test) can also dissuade subjects from guessing the desired outcome. In the example of the online footwear store it could be claimed to unsuspecting users that the site is being assessed for load performance. This would suggest that the tasks were truly designed to test the site, not the users themselves.

Mike B Fisher’s article ”Meet the Respondents: Understanding User Personalities (Part 1)” offers more insight into the range of personality types you may encounter, and Part 2 of the article suggests further ways to neutralise the threat.

Attitude polarization

A herd of sheep

 

Given the opportunity, test subjects tend to adopt herd mentality.

Solomon Asch’s conformity experiments of the 1950s reveal just how powerful the responses of other group members are during a test. Asch used a double-blind approach by placing a test subject within a group of actors playing the parts of other subjects and asking the group to respond to simple visual perception tasks. The stooges would unanimously give the incorrect answer, often perplexing the genuine subject and encouraging them to conform.

The tendency to conformity in our society is so strong that reasonably intelligent and well-meaning young people are willing to call white black.

Solomon Asch

The herd mentality is a strong human trait. Conducting user testing sessions with large groups in a shared room makes it very tempting for subjects to mimic the feedback of those around them. The HiPPO effect (Highest Paid Person’s Opinion) can further entice people to agree with their seniors’ comments.

Ideally, test sessions should be run back to back, assuming this is consistent with end user environmental factors. In cases where it is unavoidable to test a large group simultaneously, randomising task order can help alleviate this problem as it limits the extent to which people will overhear responses to the task they’re working on.

Order effect

A parrot

 

Participants will perform better at a specific task with practice.

The order in which tasks are performed can effect the results, as users will often perform better as their familiarity increases. This is called “order effect”.

Our user test of the online shoe store is susceptible to this effect. Take a series of three tasks:

  1. Browse shoes
  2. Browse special offers
  3. Search for accessories

We may observe users having difficulty with local navigation on task 1 but no issues with similar navigation in tasks 2 and 3. In this simple example, it would be naive to think there was an issue with local navigation only when browsing shoes. In some cases this is less obvious.

The solution is to randomize the order in which selected tasks are presented. In preparation for a face-to-face user test this can be easily done by printing each task on a separate piece of paper and manually shuffling. Of course, tasks are often contextual so careful consideration needs to be given to which tasks can be shuffled.

Some tools have this feature built in. For example, Survey Monkey, used for unmoderated testing includes an option to randomize questions automatically.

Funding Bias

Behind every research experiment lurks a project sponsor, and their allegiance may lie closer to financial considerations than to objective interpretation of findings.

Turner & Spilich (2006) reported that research studies funded by the tobacco industry were more likely to conclude that smoking improved cognitive performance than those undertaken by independent researchers.

No matter how a user test is conducted the findings are open for interpretation by people who are rarely objective.

UX consultants may be inclined to find more major issues in order to justify their day rate and to secure further work. Product managers may determine issues to be minor if they’re standing in the way of a much awaited deployment. It is for the recipients of user research to challenge conclusions and make researchers earn their keep.

Conclusions

While a great deal of research has gone into identifying these issues and more, you don’t need a degree in psychology to understand how they can apply to user research.

Here’s a checklist to keep you on track:

Before you start

  • Benchmark. Take advantage of any data you already have access to. If you can benchmark a task you can assess how much influence the various forms of bias have on your results.
  • Choose wisely. If you’re testing with people you know try to select a range of personalities. Remember, the insights provided by “Screw you” types are just as valuable as those given by the “Good” subjects.
  • Calculate. If you don’t know what you’re letting yourself in for, give some thought to what sample size will be sufficient to push the confounding variable of personality type into insignificance.
  • Shuffle the deck. Order effect is easy to provision for so learn to recognize it in advance.
  • Test the app. Invite your participants to anything but a “user test.” It’s a misleading term so avoid it.

During the session

  • Know yourself. What would you like the outcome to be? Designers hate finding out how ugly their babies are but the warm fuzzy feeling of concluding you were right when the results suggest otherwise only lasts a moment. Bad design lasts a lot longer.
  • Know your users. Even if you don’t actually know them, expect them to be awkward, too eager to please, confused, ecstatic, nervous and so on. Prepare a few rehearsed phrases to keep things moving and be ready to improvise.

When you’re done

  • Share. It’s important for the entire team to understand how users experience their product.
  • Learn. Highlight the findings that validate your design decisions but make sure to acknowledge areas for improvement.
  • Reiterate. You’re ready to improve your design. Remember, the data is just a tool. You don’t have to follow users’ suggestions blindly. You’re still the designer.

By taking the time to implement sound experimental design we can improve the quality of data returned by research, show the wider community that UX is a science as much as an art, and keep designing killer experiences. Here’s to better user tests…or whatever you choose to call them!

Winterhouse Second Symposium on Design Education and Social Change: Final Report

Media_httpchangeobser_ipgkn

This is a very thoughtful article with a plethora of resources. There are enormous opportunities for designers (little "d") to drive real change. My worry is that the term "Social Design" will become little more than a hollow phrase (like "Design Thinking" - capital "D", capital "T") used by people who like to hear themselves talk. 

My other concern is that unless the design field can establish a viable structural mesh with real collaboration and measurable outcomes, our individual efforts will amount to very little. AIGA is off to an admirable start with their Design for Good initiative, but without a scalable strategy that involves other design and non-design related fields, these efforts will be in vain. ~Deanna

http://changeobserver.designobserver.com/feature/winterhouse-second-symposium-on-design-education-and-social-change-final-report/30688/

Kike Calvo: Discovering Himself Through Photography « The Leica Camera

Inspiring and beautiful photography

via blog.leica-camera.com

Kike Calvo: Discovering Himself Through Photography

 

© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo© Kike Calvo

A Spaniard by birth, Kike (pronounced key-key) Calvo has developed his unique vision and signature style by means of direct experience in over 75 countries. Those who have conversed with him about his work describe him as “one of those rare people who are pure energy.” Calvo is a photographer who transcends genres. He has been a wildlife photographer who has witnessed and captured some of the most remote and beautiful places on earth, but he is also a documentary shooter, a photojournalist, and a fine art photographer. After graduating with degrees in economics he received a scholarship to study in America, where he majored in journalism, with the idea of becoming to be a journalist devoted to environmental issues, but photography soon became the axis of his life and his abiding passion. Here Kike shares part of his story.

Q: After working as a photographer for more than 20 years, what meaning does the word “photography” hold for you?

A: Passion. I can’t really explain what photography is. Some would say that it is a profession, other than a hobby. For me, it was and is the motor and the shaft of my life. It’s the thread that has accompanied me to be the person I am today. Perhaps I should say that photography has been my school.

Q: And a picture in itself — what does that mean to you?

A: A picture is light. A photograph is emotion. A photograph is a story to tell. It’s a moment in time, the memory of lived experience and a message to those who have not had the fortune, or misfortune, to witness that moment.

Q: What camera and equipment do you use?

A: I use different gear depending on the type of work I am doing. Photojournalism and in-depth work is done with a Leica M9. For action nature and underwater, I use a Nikon D700.

Q: How would you describe your kind of photography?

A: I would say that after shooting for 21 years, my style has evolved. Our way of looking at the world advances parallel to our human and internal evolution. Initially my images were clean and colorful — stunning subjects and wonders from around the world that captivated the viewer by their perfection. It was probably more about myself. With time, I have minimized my tools, adjusting to a new style. My photography is now more about my subjects. I have come to the conclusion I would rather be remembered as the guy that made someone reflect about an environmental issue or discover an important social issue, and not only as the author of the gorgeous image of a great white shark launching out of the water.

Q: Were you a serious enthusiast before going pro? What made you decide to go pro?

A: My case is a little unusual. I started by experimenting with different career paths. I was studying economics to become a Wall Street broker, or so I dreamt, but when my father died when I was 20 my world collapsed. I lost all interest in material things and I focused on pursuing my dreams. I started wandering the planet in search of a purpose and a mission. And I did find it, but as promised my dad, I graduated with a degree in economics before heading to the United States.

Q: When did you first become interested in photography as a mode of expression, an art form, or as a profession?

A: For me, photography has been my life and my passion. It’s been the medium through which I have explored our world. Even though I have two degrees and two additional one-year specializations in communications and international affairs, the camera is the tool that has made me grow, both externally and internally.

Q: Did you have any formal education in photography, with a mentor, or were you self-taught? Was there a photographer or type of photography that influenced your work or inspired you?

A: I never took any photography courses, but recently while visiting my old room in my mother’s house in Spain, I found that my shelves were packed with photography and art books I did not even recall. My father was a serious amateur, always taking tons of family photos in the film era. So I believe I observed and learned to love the craft without realizing it.  Later, when I was earning a mass media degree in the United States, I started working for everyone I could think of, doing a variety of visual work. In many ways this transformed me. Later, I also added an academic aspect to my visual training at the Charles Darwin Station in the Galápagos where spent several months documenting the Islands.

Q: What genre are your photos?

A: Knowledgeable people who have seen my work have told me that it doesn’t represent a single genre. It’s really a combination of different genres. So I believe it’s really the viewer who needs to look at my work and decide. What I am converging to is becoming a visual storyteller no matter the genre I happen to be in at the moment.

Q: How did you first become interested in Leica?

A: As far back as I can remember, many of the historical photographic masterpieces and magical universal moments we come across in books, magazines and museums around the world have been documented with a Leica. I was always curious about shooting with one, but never had the chance. When I managed a photo studio in Soho, I owned a Mamiya 7 and I liked rangefinder cameras. One day, I decided I was going to buy an M8. Only the day before I had acquired a Nikon D700, so it was a crazy move. But I said to myself, “If I don’t do it now, it’s not going to happen.” So I went ahead and bought it. I had been reading about Leica on blogs and forums, hearing all sorts of comments. Like most things in life, one should test the gear to really know. I fell in love with the smoothness and simplicity. It was very easy to handle and of the highest quality, allowing me to devote my time to observing the world and developing my own vision. It was silent and discreet, allowing me to approach my subjects in a non-threatening way; many times they were unaware of my presence. This also makes it safer, especially in developing countries where people tend to be wary of photographers.

Q: What approach do you take with your photography or what does photography mean to you?

A: To state it succinctly, photography has become my life. There is no separation between photography and my life, as it softly touches all aspects of my existence. It has been nothing less than my way of becoming me.

-Leica Internet Team

If you’d like to see more of Kike’s work, you can visit his website www.kikecalvo.com, Facebook Page and Twitter.

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This entry was posted on Friday, August 5th, 2011 at 9:21 pm and is filed under Interviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

 

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