Saturday, September 06, 2008
The Daily Show and the RNC Convention
Sunday, August 24, 2008
CNN went nuts: Downside of the 24-hour news cycle
Tuesday, August 12, 2008
Tuesday, July 29, 2008
Tuesday, July 22, 2008
Monday, July 21, 2008
Sunday, July 20, 2008
Wednesday, July 16, 2008
Saturday, July 12, 2008
A YouTube audition - Journey's new lead singer
Friday, June 20, 2008
Tuesday, June 03, 2008
Put a Little Science in Your Life
A COUPLE of years ago I received a letter from an American soldier in Iraq. The letter began by saying that, as we’ve all become painfully aware, serving on the front lines is physically exhausting and emotionally debilitating. But the reason for his writing was to tell me that in that hostile and lonely environment, a book I’d written had become a kind of lifeline. As the book is about science — one that traces physicists’ search for nature’s deepest laws — the soldier’s letter might strike you as, well, odd.
But it’s not. Rather, it speaks to the powerful role science can play in giving life context and meaning. At the same time, the soldier’s letter emphasized something I’ve increasingly come to believe: our educational system fails to teach science in a way that allows students to integrate it into their lives.
Allow me a moment to explain.
When we consider the ubiquity of cellphones, iPods, personal computers and the Internet, it’s easy to see how science (and the technology to which it leads) is woven into the fabric of our day-to-day activities. When we benefit from CT scanners, M.R.I. devices, pacemakers and arterial stents, we can immediately appreciate how science affects the quality of our lives. When we assess the state of the world, and identify looming challenges like climate change, global pandemics, security threats and diminishing resources, we don’t hesitate in turning to science to gauge the problems and find solutions.
And when we look at the wealth of opportunities hovering on the horizon — stem cells, genomic sequencing, personalized medicine, longevity research, nanoscience, brain-machine interface, quantum computers, space technology — we realize how crucial it is to cultivate a general public that can engage with scientific issues; there’s simply no other way that as a society we will be prepared to make informed decisions on a range of issues that will shape the future.
These are the standard — and enormously important — reasons many would give in explaining why science matters.
But here’s the thing. The reason science really matters runs deeper still. Science is a way of life. Science is a perspective. Science is the process that takes us from confusion to understanding in a manner that’s precise, predictive and reliable — a transformation, for those lucky enough to experience it, that is empowering and emotional. To be able to think through and grasp explanations — for everything from why the sky is blue to how life formed on earth — not because they are declared dogma but rather because they reveal patterns confirmed by experiment and observation, is one of the most precious of human experiences.
As a practicing scientist, I know this from my own work and study. But I also know that you don’t have to be a scientist for science to be transformative. I’ve seen children’s eyes light up as I’ve told them about black holes and the Big Bang. I’ve spoken with high school dropouts who’ve stumbled on popular science books about the human genome project, and then returned to school with newfound purpose. And in that letter from Iraq, the soldier told me how learning about relativity and quantum physics in the dusty and dangerous environs of greater Baghdad kept him going because it revealed a deeper reality of which we’re all a part.
It’s striking that science is still widely viewed as merely a subject one studies in the classroom or an isolated body of largely esoteric knowledge that sometimes shows up in the “real” world in the form of technological or medical advances. In reality, science is a language of hope and inspiration, providing discoveries that fire the imagination and instill a sense of connection to our lives and our world.
If science isn’t your strong suit — and for many it’s not — this side of science is something you may have rarely if ever experienced. I’ve spoken with so many people over the years whose encounters with science in school left them thinking of it as cold, distant and intimidating. They happily use the innovations that science makes possible, but feel that the science itself is just not relevant to their lives. What a shame.
Like a life without music, art or literature, a life without science is bereft of something that gives experience a rich and otherwise inaccessible dimension.
It’s one thing to go outside on a crisp, clear night and marvel at a sky full of stars. It’s another to marvel not only at the spectacle but to recognize that those stars are the result of exceedingly ordered conditions 13.7 billion years ago at the moment of the Big Bang. It’s another still to understand how those stars act as nuclear furnaces that supply the universe with carbon, oxygen and nitrogen, the raw material of life as we know it.
And it’s yet another level of experience to realize that those stars account for less than 4 percent of what’s out there — the rest being of an unknown composition, so-called dark matter and energy, which researchers are now vigorously trying to divine.
As every parent knows, children begin life as uninhibited, unabashed explorers of the unknown. From the time we can walk and talk, we want to know what things are and how they work — we begin life as little scientists. But most of us quickly lose our intrinsic scientific passion. And it’s a profound loss.
A great many studies have focused on this problem, identifying important opportunities for improving science education. Recommendations have ranged from increasing the level of training for science teachers to curriculum reforms.
But most of these studies (and their suggestions) avoid an overarching systemic issue: in teaching our students, we continually fail to activate rich opportunities for revealing the breathtaking vistas opened up by science, and instead focus on the need to gain competency with science’s underlying technical details.
In fact, many students I’ve spoken to have little sense of the big questions those technical details collectively try to answer: Where did the universe come from? How did life originate? How does the brain give rise to consciousness? Like a music curriculum that requires its students to practice scales while rarely if ever inspiring them by playing the great masterpieces, this way of teaching science squanders the chance to make students sit up in their chairs and say, “Wow, that’s science?”
In physics, just to give a sense of the raw material that’s available to be leveraged, the most revolutionary of advances have happened in the last 100 years — special relativity, general relativity, quantum mechanics — a symphony of discoveries that changed our conception of reality. More recently, the last 10 years have witnessed an upheaval in our understanding of the universe’s composition, yielding a wholly new prediction for what the cosmos will be like in the far future.
These are paradigm-shaking developments. But rare is the high school class, and rarer still is the middle school class, in which these breakthroughs are introduced. It’s much the same story in classes for biology, chemistry and mathematics.
At the root of this pedagogical approach is a firm belief in the vertical nature of science: you must master A before moving on to B. When A happened a few hundred years ago, it’s a long climb to the modern era. Certainly, when it comes to teaching the technicalities — solving this equation, balancing that reaction, grasping the discrete parts of the cell — the verticality of science is unassailable.
But science is so much more than its technical details. And with careful attention to presentation, cutting-edge insights and discoveries can be clearly and faithfully communicated to students independent of those details; in fact, those insights and discoveries are precisely the ones that can drive a young student to want to learn the details. We rob science education of life when we focus solely on results and seek to train students to solve problems and recite facts without a commensurate emphasis on transporting them out beyond the stars.
Science is the greatest of all adventure stories, one that’s been unfolding for thousands of years as we have sought to understand ourselves and our surroundings. Science needs to be taught to the young and communicated to the mature in a manner that captures this drama. We must embark on a cultural shift that places science in its rightful place alongside music, art and literature as an indispensable part of what makes life worth living.
It’s the birthright of every child, it’s a necessity for every adult, to look out on the world, as the soldier in Iraq did, and see that the wonder of the cosmos transcends everything that divides us.
Saturday, May 03, 2008
Spam turning 30 this month
The date: May 3, 1978. The culprit: Gary Thuerk, a marketer for the old Digital Equipment Corporation. His crime: Sending a sales e-mail to 393 users on Arpanet (then a U.S. government computer network and the predecessor of today's Internet). Little did Thuerk know that he'd just become the world's first spammer.
That first piece of junk e-mail (which wasn't called "spam" until about 15 years later) has been memorialized over at Brad Templeton's Web site (Templeton is a Net pioneer, the creator of the legendary rec.humor.funny Usenet group, and chairman of the Eletronic Frontier Foundation), along with a thread of outraged replies.
So, without further ado, here you go—the world's first spam (presented in its original all-caps format):
Mail-from: DEC-MARLBORO rcvd at 3-May-78 0955-PDT
Date: 1 May 1978 1233-EDT
From: THUERK at DEC-MARLBORO
Subject: ADRIAN@SRI-KL
DIGITAL WILL BE GIVING A PRODUCT PRESENTATION OF THE NEWEST MEMBERS OF THE DECSYSTEM-20 FAMILY; THE DECSYSTEM-2020, 2020T, 2060, AND 2060T. THE DECSYSTEM-20 FAMILY OF COMPUTERS HAS EVOLVED FROM THE TENEX OPERATING SYSTEM AND THE DECSYSTEM-10
WE INVITE YOU TO COME SEE THE 2020 AND HEAR ABOUT THE DECSYSTEM-20 FAMILY AT THE TWO PRODUCT PRESENTATIONS WE WILL BE GIVING IN CALIFORNIA THIS MONTH. THE LOCATIONS WILL BE:
TUESDAY, MAY 9, 1978 - 2 PM
HYATT HOUSE (NEAR THE L.A. AIRPORT)
LOS ANGELES, CA
THURSDAY, MAY 11, 1978 - 2 PM
DUNFEY'S ROYAL COACH
SAN MATEO, CA
(4 MILES SOUTH OF S.F. AIRPORT AT BAYSHORE, RT 101 AND RT 92)
A 2020 WILL BE THERE FOR YOU TO VIEW. ALSO TERMINALS ON-LINE TO OTHER DECSYSTEM-20 SYSTEMS THROUGH THE ARPANET. IF YOU ARE UNABLE TO ATTEND, PLEASE FEEL FREE TO CONTACT THE NEAREST DEC OFFICE FOR MORE INFORMATION ABOUT THE EXCITING DECSYSTEM-20 FAMILY.
Thuerk's message was first greeted by a stern reprimand from one Major Raymond Czahor, chief administrator of Arpanet, followed by a long discussion thread as Arpanet users—many of whom were wary of censorship on their messaging network—mulled the impact of this first piece of junk e-mail:
"I don't see any place for advertising on the ARPAnet," user Mark Crispin wrote at the time. "Certainly not the bulk advertising of that DEC message. From the address list, it seems clear to me that the people it was sent to were the Californians listed in the last ARPAnet directory. This was a clear and flagrant abuse of the directory! I am not sure as to how far this should be carried though."
For the record, the pioneering spammer told the Wall Street Journal that his ground-breaking e-mail worked, drawing scores of leads and about $12 million in tech sales. Thuerk says he never spammed again, and he reportedly does promos for spam-fighting companies, but he's not spending any time blaming himself for the current spam epidemic. "If the airline loses your luggage do you blame the Wright brothers?" he told the Journal. I'm not sure I get the logic there, but...whatever.
Check out New Scientist Tech for an exhaustive story summarizing the history of spam and the top techniques used by spammers, including "botnets," "zombie" computers, and "word salad"—the odd literary excerpts that spammers use to fool junk mail filters.You can also click here for our latest news and tips on beating back the flood of spam.
In the meantime...happy birthday, spam. You're looking younger every day. Sorry in advance for skipping the party.
Thursday, May 01, 2008
Circulation off at most top newspapers but USA Today, WSJ up
NEW YORK (AP) -- Circulation fell sharply at most top U.S. newspapers in the latest reporting period, an industry group said Monday, with the exception of the two largest national dailies, USA Today and The Wall Street Journal.
Those papers eked out gains of under 1 percent, while The New York Times, the No. 3 paper, fell 3.9 percent in the six months ending in March, according to the Audit Bureau of Circulations.
Newspaper circulation has been on a declining trend since the 1980s but the pace of declines has picked up in recent years as reader habits change and more people go online for news, information and entertainment.
National newspapers like USA Today and the Journal have tended to hold their ground better, as have smaller-market dailies where competition from other media like the Internet isn't usually as intense.
Gannett Co.'s USA Today remained the top-selling paper in the country with an average daily circulation of, 2,284,219, up 0.3 percent, while The Wall Street Journal rose 0.4 percent to 2,069,463. Rupert Murdoch's News Corp. bought the Journal's parent company Dow Jones & Co. last December.
The New York Times Co.'s flagship paper remained the third-largest with circulation of 1,077,256, down 3.9 percent from the same period a year earlier. That company also owns The Boston Globe and International Herald Tribune.
Metropolitan dailies have suffered the worst declines, a trend that continued in the most recent reporting period, with the Dallas Morning News reporting a 10.6 percent drop to 368,313.
The Dallas paper's corporate owner A.H. Belo Corp., newly spun out of broadcasting company Belo Corp., said as part of its earnings statement Monday that the company was culling back on less valuable circulation such as copies distributed through third parties.
Other metro dailies also posted steep declines, including The Atlanta Journal-Constitution, down 8.5 percent to 326,907, and the Star Tribune of Minneapolis-St. Paul, down 6.7 percent to 321,984.
Declines at other major papers were less severe, with the New York Daily News narrowly keeping the upper hand on its crosstown tabloid rival, Rupert Murdoch's New York Post. The Daily News posted a 2.1 percent decline to 703,137, while the Post fell 3.1 percent to 702,488.
Both Murdoch and Daily News owner Mortimer Zuckerman are going after Tribune Co.'s Newsday on neighboring Long Island. Newsday, meanwhile, posted a 4.7 percent decline in circulation to 379,613.
The twice-yearly report from the Audit Bureau includes figures from most major U.S. newspapers but not the entire industry. At the nearly 550 papers that reported comparable figures for both periords, average daily circulation fell 3.6 percent in the most recent period.
Several smaller to mid-size papers posted gains, including a Spanish-language daily in New York called El Diario La Prensa, up 7.6 percent to 53,856, while The Times in Munster, Ind., owned by Lee Enterprises Inc., rose 3 percent to 86.195.
The Chicago Sun-Times, reporting for the first time since being censured in 2004 for circulation misstatements, posted circulation of 312,274, but no prior-year numbers were available for comparison.
Sunday, April 27, 2008
Design for Online Newspapers (NYTimes.com)
Translating the Paper to the Web
Q: I recently had the opportunity to have lunch with the publisher of the local daily paper here (there is only one local daily paper here). I told her of my preference to get my local and national news online, browsing several news sites as a part of my morning routine. However, I quickly discovered that I was missing important stories that had prominent placement in the print version but were impossible to find in the online version. In trying to explain my difficulty with her site, I could only think of The Times as an excellent example of online news reporting.
So, my question is, what makes your site such a great online version of your print product? Where are they going wrong? Why can’t I explain it clearly to someone else (don’t answer this)?
Also, you use a serif font that I think is difficult to read in general, although it does not bother me on your site. Why did you choose what I think is such an non-traditional font for your site?
A: First, thanks for the kind words. Whatever success we've had with making NYTimes.com a useful and engaging source for online news, in my opinion, comes from realizing that we're not just trying to re-create what's available to readers in the printed newspaper.
Rather, we're trying to create something that's true to this medium, that borrows the best of what works in print and that takes advantage of the unique aspects of digital media.
This means we pay a lot of attention to how people use our content online. That is, not just how they read it, but how they make use of it: how they might scan the page haphazardly rather than diligently reading from top to bottom; what parts of the page they look to first and last; what they expect to change from visit to visit; which visual cues are meaningful for them and which design flourishes they find useless.
There are a multitude of factors like these that we’re continually evaluating, though I admit that as an online business we’re certainly not alone in being mindful of them. I think what we do differently from any number of other sites, whether established news organizations or young companies, is that we very expressly try to maintain continuity with a brand that’s over 150 years old. So, sometimes we may purposefully approach a design problem differently from how our colleagues in the print art department might, but just as often we’ll try to bend the technology so that it makes sense when seen through the lens of The Times’s visual legacy. That might be the intangible quality you’re talking about.
Visual Consistency
Q: Regardless of platform or browser, NYTimes.com looks the same. This is not an easy feat to accomplish because of inconsistencies between browsers and how they handle HTML and CSS. How do you do it and with which tools?
A: It’s our preference to use a text editor, like HomeSite, TextPad or TextMate, to “hand code” everything, rather than to use a wysiwyg (what you see is what you get) HTML and CSS authoring program, like Dreamweaver. We just find it yields better and faster results.
But really the browser-to-browser consistency that you see (and I have to admit, it’s far from perfect) is the result of a vigilant collaboration between many different groups — the visual designers and technologists in the design team that I lead, their counterparts in our technology staff, and the many, many detail-oriented people who come together to make the site a reality every hour of every day.
One of the things that makes my job here so satisfying is that, among all of these many different kinds of collaborators, there’s a healthy respect for design. Everyone is committed to putting the best face forward for The Times — including paying close attention to visual integrity of the site. Regardless of the tools you use, it's really only that kind of commitment that makes it possible to maintain consistency on a site as sprawling as ours.
The Sources of Inspiration
Q. I was wondering how much influence the design of other media Web sites has on your design choices for The New York Times's Web site? For instance, I think The Guardian has one of the most visually appealing front pages of any online news outlet I've ever seen — though the underlying pages are not nearly as beautiful. Do you look for direction or inspiration from other sites?
A. We definitely look at the competition from other news organizations, both for how design informs the way they present the news, and for how they've designed and integrated tools for making the news more useful to their audiences. (And yes, over at The Guardian, their creative director, Mark Porter, and his team are doing some really terrific work that we admire greatly.)
However, that's only part of the homework we do. I think it would be a fallacy for us to think that we're only competing for the attention of a discrete "media" audience. Internet usage is very eclectic by nature, and it's the responsibility of my team to be conscious of that.
So, just as often, we draw inspiration from what's happening in digital media at large, regardless of whether or not a news organization is explicitly involved, and often regardless of whether a given digital product deals in the news at all. That means that sites of miscellaneous classification like YouTube, Wikipedia, Craigslist and Facebook — and countless others, many of which might have only recently emerged from their founders' garages — are of as much interest to us as top-shelf competitors like The Guardian and our other peers.
What Does a Design Director Do?
Q. Can you give a little more insight into exactly what you do as a design director does it involve actual production work, is it purely supervisory, or does it fall somewhere in the middle?
Also, what do titles and terms like information architect, design technologist and user experience mean? I've heard of them used elsewhere, but what does it mean for The Times?
A. The question of "What do you and your design team do?" is pretty hard to answer without resorting to a tremendous amount of off-putting and, frankly, loopy jargon. I'm going to try, but forgive me in advance if I lapse back into it.
When most people hear "design" and "NYTimes.com" together, they usually think of the wonderful interactive graphics or multimedia storytelling done by our colleagues on the graphics and multimedia teams. (In fact, Steve Duenes, the graphics director, offered lots of insight into much of this work in his own Talk to the Newsroom session some weeks ago.)
Though we do work with these teams in a support capacity, it's not the core of what we do. If you think of their work as design for the content that appears on our site, then you can think of the work that my team does as design for the framework for that content. Which is to say, we create the underlying platform on top of which the content sits.
Even setting aside the vast amounts of original reporting that we publish every day, our site is still under more or less continuous revision, so that framework is constantly being tended to. We're always looking at ways to improve various sections of the site, tweaking our templates, adding new features and tools and removing impediments to people's consumption and use of the news.
As the design director, my responsibility is to oversee the creative aspects of these continual improvements. Each one is a project of its own with some range in scope, from very short and discrete to long and drawn out over many months. And each project requires one or more of the members on my team: information architects (who are charged with organizing the features and the flow of information so that people can make use of them most intuitively), design technologists (who do the actual coding of many of these sites, using HTML, CSS, JavaScript, Flash, etc.) and/or visual designers (who handle the overall look and feel, including layout, typography, color, proportion, etc.).
You could say that all put together, the final product of our efforts is the user experience, or the sum total of the content and the framework as it's used by visitors to the site. Of course, it's not true that my design group is the only team responsible for creating this experience; it's really the result of contributions across the board, from editors and reporters to project managers and software engineers and many more.
Finally, my job doesn't involve as much hands-on design work as it would in an ideal world. The majority of my day is spent either in a supervisory capacity, reviewing and discussing work done by my staff, or sitting in meetings, planning for upcoming enhancements to the site and how design can make them happen. The way I usually put it is that my job as design director isn't actually to do great design, but rather to help create and sustain the conditions under which great design can happen.
The Design of Blogs
Q. I love all the blogs springing up on NYTimes.com. Can you talk about their design and specifically their logos?
A. I'm especially proud of the design work that's gone into our blogs for many reasons, but especially for how our designers have dealt with sheer scale. Over the past two-plus years, as The Times newsroom has embraced blogging with tremendous alacrity, we've created over 150 blogs, and over a third of those remain active today.
The challenge is even more complex when you consider that, though each blog has its own needs, the vast majority must be based on a single template (within WordPress, our Web log publishing system) that manages all of the blogs together. As you can imagine, that requires that the template be very versatile and that our designers be very nimble.
So by virtue of the fact that we're constantly launching new blogs, we're also in a perpetual state of revision and refinement. We're fine-tuning the typography, adding new features to the right-hand column, incorporating new kinds of media content into the articles, etc. All of which is work that may then be reflected back on the other blogs. Jeremy Zilar, the design technologist in my group whose primary responsibility is to develop and support these blogs, said, "Every blog we launch seems to bring something new to our template that every other blog can benefit from."
As for the the logos that we've developed for the blogs, that too has been an evolution. In the beginning, we were very liberal with our use of art, and gave illustrators lots of creative leeway to render a distinct visual identity at the top of each new blog.
Over time though, we've refined our approach so that the the typography is more or less consistent, and that each logo has a compact, iconographic illustration to identify it. In one of my favorite examples of our Web staff working with our colleagues in the print art department, almost all of these logos are a tight collaboration between Rebecca Paterson, one of our very talented digital designers, and Nicholas Blechman, who art directs the Book Review section.
For each new blog, they work together to brainstorm a concept, select a freelance illustrator, and art direct its execution. Within that fairly restrictive formula we've set for the art, I think they've done an amazing job cultivating a great variety of artful logos.
The Publishing Software
Q. I was wondering how permissive the New York Times's content management system is with custom layout. Is there only one template that an article must follow, or are there exceptions? If there are exceptions, how do you handle them?
Q. How involved are you in the design of the content management system that feeds the NYTimes.com front end? The posting of news and videos to a popular media site in a timely manner requires a highly usable and dummy-proof solution. Is your back end as user-friendly as your front end? Cheers from a fellow Otis grad.
A. Our content management system — the software that we use to publish our articles on our Web site — is based on a finite number of templates. So in large measure we're resigned to working within those pre-determined layouts. The range of expression that you see day to day on the home page and on our various section fronts is really a credit to the editors and producers who do the actual publishing of the articles. They use the C.M.S. the most and have learned to be very creative with it. (My design group is focused on the site as a platform, and we don't often get involved with the daily layout of the news.)
If there are any shortcomings in the range of expression that those templates offer, it's the job of my design group, working with our technology team, to create new ones that better suit the needs of the editing staff. This can be a lengthy and involved process. Often it doesn't make sense to invest the effort in creating a brand new template if the needs it will address are singular or short-term.
So we will often — not frequently, but often enough — try to work around the limitations of the existing templates using custom code, essentially "hacking into" our own templates to achieve a unusual presentation. A great example of this is the work that our design technologist Bart Szyszka did for our recent series on China and the environment, "Choking on Growth."
These work-arounds aren't ideal of course, so we try to be sparing in our use of them. We want to maintain as much design flexibility as we can, of course, but we also have to be practical about the technical implications. Pushing the C.M.S. too far in these ways would be untenable. Our director of content management systems, Brad Kagawa, said, "The need to structure data" — encode the content in such a way that it makes sense to our systems — "is sometimes at odds with the desire to have custom layouts. With the C.M.S. publishing to dozens of delivery channels (Web, RSS, mobile, Times Reader, the Times archive, various partner feeds, Amazon Kindle, etc.) we have to store everything in a structured and non-Web-centric way but at the same time retain that flexibility."
As a result, the design team is actively involved in the design and planning of our next generation C.M.S. Alex Wright, the information architect who is heading up the design aspect of it, said: "As you might imagine, it's a large undertaking. We're constantly making adjustments to the interface as we develop new ideas about how to streamline the publishing process while supporting the complex requirements of a large news-gathering organization."
Interaction With Reporters and Editors
Q. You have stated that you and your staff are involved with what you describe as the framework for NYTimes.com. To what extent do you and your staff interact with reporters and editors? How does that work? Assuming you do work with the reporters and editors, is that the same as what happens with the graphics team? In any case, how does your team work with the graphics team?
A. We do work with editors and reporters quite a bit. More often than not, in fact.
Going back for a moment to the subject of the last question: blogs are a great example of how we work together. Each blog we create begins as a conversation between editors and designers. Because they're so highly focused on specific subject areas, we really try hard to create the right design solution for those particular editorial needs.
For some of our more standard journalism, our teams work together to create special layouts of our home page or section fronts. This tends to happen only when we have at least a few days' advanced notice, so ongoing stories like the presidential campaign, big events like the Pope's visit to the United States or special series like "Choking on Growth" are good examples of that. Those happen regularly if not frequently, but we're always eager to design for the news when we can.
At the same time, we're continually collaborating with editors and reporters on what I described before as the NYTimes.com platform. Editorial input is really a key component on these design challenges. An obvious example would be the section fronts we've overhauled over the past year or two, e.g., Health and Movies. Similarly, for last year's major overhaul of how we present our slideshows, editors and photo editors were deeply involved in establishing the requirements that guided that redesign. Even platform projects that aren't explicitly examples of delivering Times journalism, like our My Times product, were designed from scratch with the input of the editing staff from the very start
Personas in the Design Process
Q. Do you use personas and/or a goal-directed design process to craft your interaction design? If so, how do you go about your user research, given that you have such a broad base of users?
A. Every time we add a new feature to the site, redesign an existing section or create new digital products of any kind, we start with the premise that our primary "clients" are the people who will actually be using it, and not necessarily our staff of journalists, technologists, businesspeople or designers.
It's kind of an obvious assumption, but it really is the hardest part of the process for any design team, regardless of the industry: setting aside your own familiarity with the content, your own expertise and envisioning a solution through the eyes of those whose relationship with your product is much more casual.
When I say "design team" here, I mean it in the larger context, including product developers, software programmers, project managers, marketers as well as reporters, editors and many more. Everyone here is involved in the design process, so everyone has to be able to make that leap into "user-centered design" thinking.
We employ a lot of research for this. We have a customer insight group that pays a lot of attention to site metrics: the traffic we get, how the site is being used, and the overall statistical patterns for that usage. We also work with them frequently to perform usability tests, where we bring in real people to our in-house testing facilities to watch how they interact with new design solutions we put in front of them.
Sometimes this research feeds into the "personas" method of designing, in which we write detailed descriptions of archetypal users and make design decisions around the goals and needs of those actual personas. Personally, I have mixed feelings about the effectiveness of that technique, though I don't question the basic premise that understanding our users is the single most important start to any solution.
We like to be flexible, though. Alex Wright, information architect, said: "Different projects call for different design approaches; we try to avoid locking ourselves into a one-size-fits-all design process. For major projects (like section redesigns), we do use personas and scenario modeling methods. For other projects, we use a mix of different methods: field studies, eye tracking, online surveys, card sorting and, of course, traditional usability testing."
Some Pet Peeves
Q. It's hard to find the link to the Obituaries section on the front page of NYTimes.com. Why is it listed on the lower part of the lefthand column in small print along with Blogs, Crosswords, etc., when it deserves to be placed higher up in the column and in larger print along with other newsworthy sections such as Sports, Science, Arts and Style?
Q. Other papers, notably The Seattle Times and The San Francisco Chronicle manage to include pictures and graphics from their stories in the printer version that shows up on the browser. It would add a lot in some cases. Why can't The Times manage to do this (going forward, if not for past stories)?
Q. A lot of times I enjoy the New York Times videos and would like to share them with some of my colleagues. But I find that NYTimes.com doesn't have the embedded source like YouTube does. Blogs nowadays embed all sorts of YouTube videos and other videos from different host sites and it makes it easier for people view things without actually visiting the site. My question is, why doesn't the NYTimes.com include embedded sources and will we see that in the future?
A. I'm going to try to answer these three questions with one general answer, and by extension, hopefully address several other questions that were sent in by readers who also requested changes to or expressed frustrations with various parts of NYTimes.com.
I don't necessarily disagree with most of the suggestions and criticisms that people have about the functionality of our site. They're quite valid and they'd almost always go a long way toward improving the overall experience on the site for users. In fact, if you cornered me in conversation, it wouldn't take much effort to elicit from me a long list of my own NYTimes.com frustrations and peeves, things I'd very much like to see fixed.
At any given time though, my design group is working on roughly a dozen or more projects of nontrivial size, while simultaneously watching for urgent problems cropping up across a site of significant volume and breadth. That keeps us very busy. So as a matter of resources — having enough designers to take care of everything — it's almost impossible for us to implement every change or improvement we'd like to see happen.
Even if the design team doubled or tripled in size (and I actually believe that beyond a relatively small staff count, most larger design teams are actually less effective than smaller ones), we can't implement these changes on our own. For many of them, we'd very much need the collaboration and support of our colleagues throughout the company, especially those in our technology group, and they have their hands full as well.
Luckily, a lot of our projects are actually focused on overhauling and improving existing areas of the site that have been long neglected. So in a sense, we're continually trying to root out these imperfections. It just may take us a while to get to the ones mentioned in these questions.
Recommended Course of Study?
Q. What course of study would you recommend at the graduate or undergraduate level for someone looking to work in your field? Or, failing that, what practical experience do you think most prepared you for your current job?
A. I don't presume to be an educator, so it's probably best for me to answer this question in terms of what I look for when hiring a new employee. It's actually quite a complex mix of varied skills: an ideal applicant would have very strong traditional graphic design skills; in-depth training in usability and interaction design; practical experience coding XHTML, CSS, JavaScript and Flash; a commercially viable comfort level with database and application programming; and last but not least sound news judgment based on a deep understanding of current affairs.
Mind you, almost nobody possesses this exact combination of skills. If there's a school or curriculum somewhere that's turning out these kinds of candidates regularly, I'd be very interested to know. (Besides, I tend not to pay nearly as much attention to where a candidate was schooled as I do to that candidate's portfolio of work samples and practical experience.)
So obviously I look for people who can combine as many of these skills as possible. I'm not sure it would be fair to say that any one skill is more important than the other because they're all vital, but I can say that having a particularly weak foundation in traditional graphic design — lacking an understanding of typography, color, composition and visual storytelling — more or less disqualifies one immediately.
There are a few other intangible qualities that I look for, too. The ability to effectively articulate one's ideas about design is a big plus; translating design's subjective nuances into plainspoken explanations is a critical requirement for this job. Agile problem-solving skills are also an imperative; being able to think about a design problem in a larger context than one's own role as a designer only makes it easier to pull off ambitious solutions. And maybe most important of all is enthusiasm for the work; there's no substitute for a designer who feels truly invested in the work.
All the News and Links That Fit?
Q. Could you talk about balancing the multitude of links to options, services, newspaper sections, etc. on a page with the actual content of the paper? When is it better to make readers click through one or two levels to find something instead of cluttering the front page with links? Is there a science to this, or is it design instinct?
A. There's no question that there's a lot of stuff on our pages. In fact, to speak frankly, I'd say that often there's just too much stuff. Too many links, ads, extra features and even too much text. We often hear from users — and even from our own staff — that we should be seeking to reduce the number of visual elements on each page.
However, throughout virtually the entire site, we have to achieve a delicate balance between the concerns of our newsroom, our business, our technological infrastructure, our brand and, most important, the people who use the site. Just about anything that appears on any given page is tied to some intricate combination of editorial judgment, revenue, technical restriction and user behavior.
You can think of it as an elaborate logic puzzle, with the onus on my design staff to solve the puzzle using as few elements as possible, in as aesthetically pleasing a manner as possible. We strive to distill every template that we create down to its core parts, and actively debate the placement of nearly every element.
There's no magic formula for this, unfortunately. In some cases we do find it better to design a feature so that people are required to click through it. In other instances, we find scrolling or simply presenting all of the available options up front is the better course. And at times there are design solutions that everyone feels are the simplest and best, but that can't be implemented due to some pragmatic constraint imposed by any of the many interdependent factors driving the site.
As you can imagine, it's no easy feat — which isn't meant as an excuse. This difficulty of the situation, while not always enjoyable, is a big part of the reason many of us have signed on for this job. It's an interesting design challenge because it's a hard one. We're under no illusions that what you see on the site is the best possible design ever. We look at it as a work in progress, and something that can be continually improved.
Tuesday, March 25, 2008
No more "Boys on the Bus" of presidential campaigns
Sunday, March 23, 2008
Viral videos
Solution to the mortgage crisis
With the mortgage crisis gripping the country, this is one pretty good idea...especially that one out of 500 homes.
Tuesday, November 13, 2007
Robot dancer - Apple iTunes commercial
Wednesday, October 24, 2007
Microsoft and the $240 million offer to Facebook
My initial take:
Marketers will definitely be interested in Facebook users due to the treasure trove of information contained on the site. Imagine a getting a highly targeted and accurate pitch directed at you...advertisers can now "scrape" your postings and will be able to create a complete picture of your current lifestyle and personal tastes.