A couple of years ago, when I started working at Channel 4, I came up with a model for thinking about social spaces online that focused on how users felt about being online, rather than the technical capacities of the platforms themselves. I did it so that people pitching to us would think about users rather than tech, but the model has stuck in my thinking, and seems more and more relevant today.
This is partly down to something that I thought about at the time, but didn’t write about. In the original post, I tried to describe a crude taxonomy of spaces in which users have relatively consistent expectations about what happened to the information they share, and relatively consistent behaviours that they expected from other actors (both real and technological) when they occupied that space. For example, if a space feels like its shared only by a group, users will share their information accordingly, and expect others to share their assumptions.
Likewise, user transgression is when someone shifts someone elses information from one register to in a way that wasn’t expected. A common illustration of this is newspapers taking photographs from Flickr without respecting the copyright limitations that users had put in place when uploading the photo. Loaded magazine was recently cleared of breach of privacy by the PCC following a complaint from a woman who uploaded a picture of herself to Bebo in 2006. Over the next few years her picture was circulated widely on forums, and she became an internet meme as the ‘Epic Boobs’ girl. When Loaded magazine called for their readers to help track her down, she claimed the article had caused her considerable upset. But the PCC claimed that as the picture was so widely distributed online already (appearing in the top 3 Google searches for ‘boobs’) the Loaded article could not be considered to infringe her privacy, although it would have been a different case if they had taken it directly from her Bebo profile in 2006. It was the gradual disemmination of her image between groups of users online that made it ‘public’ – not her original act, which she probably imagined to be for a group that she controlled, but groups who could access and share her image without her knowledge or control.
What is remarkable about the Epic Boobs and Facebook transgressions is that they are gradual and hard for the person involved to track. In an analogue media world, the transgression between registers is sharp and obvious – a newspaper would have had to contact you to get a copy of a photo for them to use, and your personal photographs couldn’t become a global property without you knowing about it. We now live in an age where transgression is insidious and invisible, where users can’t understand the potential risks of sharing until it’s caused them significant pain.
Understanding trangression is going to be *the* most important thing for business and users working online in the next few years. Users will need to interrogate the services they use for potential transgressions of their information across contexts (as with Facebook’s gradual publicising of user data); platform creators will have to be more explicit to users about how information transgresses different contexts, and make these transgreses more tangible to the user (simply ticking check boxes is not enough – these transgressions need to have grain and weight built into the interaction); and large organisations will need to understand the implicit and assumed contexts of the spaces they are using to connect to their users, and how to ask permission when they take contributions or data from one context to another.
We’ve been through nearly a decade of excitement about creating and scaling these new social spaces online. We now need to focus very clearly on how information moves between them, as these transgressions are not simply about data and networks. The boundaries that users understand implicitly are defined by emotions, not software, and we need to bear this in mind when we cross them.
[This is the third part of a short series, based on a talk I gave at MIPTV in March 2009, sharing some insights from our commissioning social media projects at Channel 4 Education]
We’ve had a couple of projects this year – like Yeardot and Battlefront – that run live for 9 months to a year. It’s incredibly hard to keep hold of people’s attention over such a long period of time, and to be honest, we didn’t expect to. The web is a smorgasbord of distraction, so you have to be realistic about how often people will come back to your project. This poses real problems for an ongoing narrative project – do you start a project with a big bang to capture attention? How do you deal with people coming late to the project? What if people drift away for weeks and then come back to the project again?
Designing a narrative structure that can cope with such diverse patterns of attention is really tough. Its probably easier for factual projects than fiction, partly because we’re used to drifting in and out of our friends’ online streams, so its simple to replicate this in factual/documentary projects. Its no accident that the first popular fiction projects – like Lonelygirl15 and its early precursor Online Caroline – used self-authored video and text to tell the story from the protagonists’ point of view.
Most users now carry with them a strong conceptual expectation about how stories are ‘read’ online, developed from their experience of following their friends’ lifestreams on Facebook et al. So it makes sense to follow a few simple principles to take advantage of these assumptions, rather than working against them and confusing your users:
Keep it simple, and signpost clearly
We massively overdesigned some of our projects when we first launched them. We tried to create too much atmosphere through strong designs, and the general response from user groups was “this looks great, but what *is* it?”. Through many iterations, we ended up simplifying all our sites a lot, with clear explanations of what the project was, who was speaking there, what you could do, and what was new. You probably have only a few seconds to engage someone before they move on – don’t risk being enigmatic, unless you’re dealing with a brand or project that the audience already knows and loves. If its a completely new thing, explain the project clearly and keep the navigation simple and consistent – most users will probably not come through the main site/home page, so the project’s purpose needs to ring clear from every possible interaction.
Have a clear voice for the project
Erika Hall’s Copy As Interface rightly points out that most navigation of the web relies on text, not images or video. For social media sites, this text is not the neutral voice of a machine or nameless authority, but vernacular, oral speech, written as if it were a conversation with a friend. As Erika puts it – “we’re not writing, we’re speaking with text”. Again, this is inherited from the fact that most of our interactions on the web now are with friends, not ‘sites’, meaning that we respond better to projects that use vernacular language. We find such language more engaging, approachable and interesting – as Erika Hall quotes Walter J Ong – “Orality knits persons together into community”. The single most effective thing you can do to engage your users and keep their attention is to have a clearly identified, oral, vernacular voice for the project. Ideally, this would be a named person, real or fictitious. On Battlefront, we have the excellent Orsi, who blogs for us on Bebo and generally gives the site a sense of idenitity. Incidentally, I think Battlefront’s tag line – ‘You’re Already Involved’ – is one of the best bits of copywriting on any of our projects.
Make it easy for people to leave footprints in the project
There are two good reasons for this – if users contribute to a project, no matter how small, then they’re more likely to remember it and come back. Secondly, a site with lots of user activity looks busy and active for other users – just like restaurants, people are more likely to stick around on a busy site than one that feels like you’re the only visitor. There is a third aim – to get some personal data that means you can regularly communicate with the user, but this can be a real barrier until people have spent a fair bit of time with the project and feel like they’re getting value. You can use promotional competitions as a shortcut to get user data, but I don’t think this is that valuable, as it drives a wave of attention that mostly just drifts out again like a tide once the competition is over. Ideally, you want your users to gradually increase the size of the footprint in the project as they get more immersed. This could mean initially clicking a simple vote or poll, then friending on a social network, subscribing to a newsletter, commenting and finally creating or embedding content in their own social spaces. On the home page of Battlefront, we’ve got a really simple interactive word-cloud with issues that users have uploaded for others to vote on, creating an immediate call for participation to new visitors. In fact, most new visitors seem to come through Facebook, meaning that they’re responding to specific call to action from the individual campaigners. On Yeardot, we deliberately tried to move users through to the individual contributors pages on Myspace, thinking that this is where the real conversation would happen. But we underestimated the complexity of this journey, and also the social barriers many feel in leaving a comment on a total stranger’s Myspace page, so after a few months we redesigned the main hub site to encourage commenting there as well. I don’t think we’ve really explored this yet, though, and we’ll be looking at the entry and exit routes through these projects to understand more about how to gradually encourage and feedback on activity from users – the user journey needs to start from their streams, not our site, and end up back in their streams again.
Or, you could just make games…
If you really want to engage people, get them to participate, and get them to return again and again, you might as well make games. As Aleks Krotoski pointed out in her talk at Dconstruct last year, there has been a baffling lack of communication between web design and game design, although this is now happening, and quickly. My fellow commissioning editor, Alice Taylor, knows far more than me about games, and is commissioning some excellent projects, such as Bow Street Runner, Routesgame, and a project with SixToStart that i’m incredibly excited about that will launch later this year. I hope Alice will write about her experiences commissioning these projects more on her blog in the next few months. But we should all learn from how the best games drag you in without having to read a manual; encourage early, simple interaction which is rewarded out of proportion to your effort; and then sets you iterative challenges that get the balance between effort and reward just right. Amy Jo Kim and Jane McGonigal have both written inspiring accounts of how gaming metaphors can be applied elsewhere on the web, and in real life. Sometimes I think its only a matter of time until gaming becomes the main metaphor for most of our social interactions. And then sometimes, I think its already happened…
In the next essay, I’ll talk about the holy grail – turning users’ attention into valuable interactions. For many, this will mean getting money out of them, but as I work for a public service broadcaster, I’m going to talk about more intangible things – how you know if people are learning about themselves, their lives, the world around them; and whether they’ve been inspired to act upon and change things as a result. Not too much to aim for, then…
[This is the second part of a short series, based on a talk I gave at MIPTV in March 2009, sharing some insights from our commissioning social media projects at Channel 4 Education]
“2008 is the year we hit Peak Attention. You can either carry on encountering as much as you do now, giving every input less and less attention every year, or you can start managing it, keeping some back to take long-haul attention flights. What are the consequences of living post-Peak Attention? Nobody will be able to understand anything hard unless they make sacrifices.”
When I started at C4 in 2007, the first challenge we faced was how to get the attention of the 14-19 age group we were targeting. Up until Jan 2008, C4 Education made (brilliant) TV programmes that were broadcast in the morning schedule, during term time – a throwback to earlier Education programming that was aimed directly at teachers and classrooms. About 6 years ago, the strategy shifted to trying to reach teens directly, making this morning slot an anachronism, as most of the target audience would have been in work, school or college. Janey Walker took over C4 Education in 2006, and realised that TV just wasn’t the right platform anymore, at least not for this audience, with these slots. This led her to make one of the most radical decisions in UK broadcasting – she decided that from Jan 2008, the entire budget (about £6m) for the department would go on cross-platform projects, trying to reach teens in the spaces where they spend their attention, rather than this rather empty part of the morning schedule.
A major broadcast channel like C4 has a number of routes to getting attention – a prime-time slot, an established programme brand, hiring a major talent/celebrity, or a massive above the line marketing push. We didn’t have any of these, so had to go out into the wild web and try and drum up as much attention as we could in whatever ways we could. Over the last 18 months we’ve tried a number of things – partnering with spaces where teens are paying attention, like Myspace and Bebo; distributing content over many different 3rd party networks; making content available for download to podcasts and mobile phones; seeding content in existing special interest communities; running competitions with glamourous prizes – to be honest, I’d fly a plane over a city with our project URL on it if I thought that would bring it to people’s attention. Not all of this worked, obviously. The traffic to our sites isn’t anywhere near the kind of traffic that C4 gets for Hollyoaks or Skins. But here’s a few things I think we’ve learnt.
Design for streams, not for sites
Most people using the web, especially in younger age-groups, now experience the web as streams, not sites. It might be the stream of updates in Facebook, or their contact’s Flickr photostream, or a string of results on Google, or in an RSS reader.
The average number of sites people regularly visit is generally reckoned to be 5 or 6, and most of these are services that organise and stream information to you – email, social networks, search engines, media libraries (ie Youtube or Itunes) etc. Every now and then a new site emerges that takes its place in this hallowed pantheon, but I wouldn’t bet on your project being one of them. Much better to design content that plays nicely with streams – content that can be interesting and enticing as a one-line text result in a search query, and that doesn’t mind being broken up into small pieces (Cf Matt Jones’ reference to the coke bottle in my earlier post). This is much harder for narrative projects than functional projects, as storytelling tends to rely on controlling the context for its impact – think of how the audience is controlled in a theatre or cinema, or how television has built its aesthetics around its ownership of the living room and the strictures of scheduling.
I don’t think we’ve really got this right in any of our projects yet, but its the thing I’m most interested in exploring and playing with. Funnily enough, I think I was playing with similar ideas in a project with Tim Etchells in 2000, called Surrender Control, which assumed that we had no control over the audience or context at all, and tried to create an intriguing piece of theatre using just 40 SMS texts. But maybe this is going too far – maybe you need to base a story in a solid context, but let it be manipulated, ripped up and shared around the web as much as your users want to. Dan Hill summed this up beautifully in a post about the social media ‘ripples’ around LOST a few years ago. In the end, I don’t think there’s one model here, just a set of principles – design your content to play nicely with streams, or to be ‘spreadable‘, in Henry Jenkins’ terms.
Don’t be snotty about marketing
This is a simple one, really. Too many people in the storytelling business look down on marketing. Some people I know in web startups think that marketing is a tax you pay for having an inferior project. Bollocks. The reality is, in a post-Peak-Attention world, sitting there expecting people to discover your genius is frankly naive. We’ve had our digital agencies and TV companies working as one team, making decisions together about casting, shooting, web design and marketing. Its all the same project, and it should be the same people making decisions about everything. Marketing now is just another way that people find out about you – another ripple in the stream. Its too important to draw an imaginary line that fetishes some activity as ‘creative’ and some as mere ‘marketing’. If you do that, you’ll miss the opportunity to be really creative with marketing, and will fail to market your creative genius. Think of the coke bottle again – every fragment and shard of the project should be as beautiful, enigmatic and thrilling as the whole.
One last piece of advice – take your time. Trying to mimic TV and get millions of people online to look at the same thing at the same time would be hugely expensive and a waste of time. In a spreadable media world, it will probably take weeks or even months for people to find your project. Designing something that has to be experienced within a certain period or synchronously with thousands of other people is a nice idea, but it plays against the asynchronous nature of the internet. Unless you’re building a site that works alongside a major piece of event TV – think X-Factor or Strictly Come Dancing – just relax, and don’t worry about overnights.
Instead, launch the project early, and often. Put out lots of little bits of content over time, and reward people who stick with you. Take the time to listen and work out why people are coming to the project, and more importantly, why they’re not. Make it easy for newcomers to pick up the story at any point, and to view content in any order if they want to. Attention is far too precious a resource these days to act like a bouncer and pull across a velvet rope if people turn up too late. The dirty secret of the web is that, although its never been easier to publish, its never been easier to be ignored. Worship every bit of attention you get from your users, as it’s their gift to you, not the other way around. Which brings me to the next issue – keeping attention. More on that in the next post.
I’ve just presented at MIPTV on the theme of ‘commissioning for attention’, a phrase I’ve been using for a while to describe what I do at Channel 4 Education. I hate phrases like ‘360 content’ or ‘multiplatform’, as these encourage people to get hung up on technology or to have a box-ticking mentality to where ideas can exist, rather than really focusing on users and understanding what they’re doing. We’ve learnt a lot from running projects like Yeardot, Battlefront and Routesgame over the last 18 months, so I thought I’d write up some notes on this blog from the presentation.
But before that, these ideas have been massively influenced by friends working in game design, agile website design or service design. Narrative media is still (outside of gaming) light-years behind the curve compared to the work going on in these disciplines, so a lot of the time I’m trying to act as a translator – taking concepts and ideas from more functional design disciplines into narrative/editorial contexts. When I speak to indies or producers, there’s a set of blogs/presentations that I tend to refer them to, so I thought i’d start by sharing this reading list:
If it doesn’t spread, it’s dead – Henry Jenkins
This is an incredible series of 8 blog posts, from a report commissioned by a consortia of US media producers. In this series, Jenkins elegantly skewers some of the terminology and assumptions in discussion of ‘viral’ media, and proposes a new set of concepts that beautifully illustrates how people share and participate in social media. In particular, he’s really insightful on the interplay between the commercial world of commodity media and the ‘gift economy’ of users’ social networks, and how ‘spreadable’ media works in the overlap between the two.
Tiny Social Media Objects – Jyri Engestrom
Jyri explains how social sites have at their core a ‘social object’ – eg photographs, music, second-hand goods – around which users congregate and act. The loveliest part of this presentation is his recommendation to start your site by defining its social object, and then to think about the verbs that people will apply to them. Eg in Ebay, the objects are second-hand goods, and the verbs are ‘buy’, ‘sell’ etc.
Native to a web of data – Tom Coates
Slightly earlier than Jyri’s presentation above, this is a fantastic clear and articulate presentation of how to design projects as flows and visualisations of data, rather than documents and sites. Tom elegantly reframes designing for the web using an ecological data model – design to create good, clean reusable data, that other services and users can benefit from.
Designing for the coral reef – Matt Jones/Matt Biddulph
This is a hilarious transcript from the Dopplr team’s talk at Dconstruct last year. I don’t think you had to be there to get the jokes, or to imagine what the slides were, as their descriptions are pretty good. In this talk, they’re building on some of the ideas that Tom Coates used in ‘Native…’ and bringing in Matt Jones’ interest in time/space and how you tell stories to people about their activities over time. But the great insight for me here is in designing a project so that users can engage through lots of different access points, not just a monolithic site. Matt uses a great analogy with a coke bottle – “Martin Lindstrom said, “The genius of a coke bottle is when it smashes into a thousand pieces, you still know it’s a coke bottle”. Designing your project so that its still recognisible from a fragment as it is whole is a lovely challenge.
Putting the ‘fun’ into ‘functional’ – Amy Jo Kim
My fellow commissioning editor – Alice Taylor – saw Amy give this presentation at GDC (I think) a few years ago (the link above is to the 2009 edit). Many of the design and interaction metaphors we use from the web were inherited by traditional software design, mainly from productivity software like Office. In this presentation, Amy looks at interaction concepts from game design – such as collecting, points, feedback and customization – and shows how they can be applied to social software design.
Copy as Interface – Erika Hall
I’ve not seen Erika give this presentation, but its so fantastically clear and well designed that you can get the gist of it through the presentation alone. Erika demonstrates how the web is largely navigated and understood by users via text, and how the kind of language used on web 2.0 sites relate to oral vernacular (paging Walter J Ong!), rather than more formal professional language. This is just a great presentation to give to people who think their site is about shiny flashy images or video. Its not. The cheapest and most effective thing to get right in a project is its ‘voice’ – the language and style you use in the text of the site and your other interactions with the user (email, twitter, etc).
Everything you know about ARGs is wrong – Dan Hon
As a pioneer in the world of ARGs (Alternate Reality Games) Dan has earned the right to call the top of the market, and skewer some of the cliches and lazy assumptions about audience interaction that have built up around the genre. Anyone that can show a presentation slide saying “WE SUCK” in 40pt type to an audience of peers and get away with it must be doing *something* right…
And here’s a couple of more specialised presentations that I also recommend:
Content is not King – Andrew Odlyzko
Working in the content industry, its really hard to get people to understand that historically, social technologies have been more commercially successful than content technologies. Social media is potentially the first space that mixes the two (as Jenkins illustrates in his work on gift economies and commodity culture in “if its spreads…”) but most people coming to social media from broadcast forget this, and see these networks as pipes to shove content through. Odlyzko’s essay starts with a plain assertion of fact – “The Internet is widely regarded as primarily a content delivery system. Yet historically, connectivity has mattered much more than content” – and then proceeds to show why this has been true for every communication network since the telegraph. Written in 2001 at the cusp of the dotcom boom, he calls out the telcos who convinced themselves they were in the media industry rather than the ‘dump pipes’ comms market, and points out that the real money is in facilitating gossip, not commissioning ‘rich media’. Replace the comms companies with todays social media stars, and its still true.
Startup Metrics for Pirates – Dave McClure
Containing some of the most bafflingly designed slides I’ve ever seen, I think I understand just enough about McClure’s presentation to know he’s a genius. I saw him give a version of this presentation at Seedcamp in London last year, and it nailed an issue I’d been struggling with for a while – how to create a simple metrics model for complex interactive projects. His one-page buisiness plan (slide 11) is a masterpiece of clarity and simplicty, elegantly allowing you to track complex user behaviours with just 9 metrics. I’ve adapted the categories, but kept the same logic and purpose in our metrics models for Channel 4 Education. The real insight here is getting people to use the same set of metrics for both reporting and agile design. This is obvious for geeks, but for TV people raised on Overnight Ratings that happen after the project is put to bed, its a revelation.
So – that’s it for influences. Over the next few days I’ll write up some of the ideas and concepts that we’re using in commissioning at C4 Education.
I’ve been playing around with Daytum a bit today, and its reminded me how playful and delightful personal data can be. I’ve often thought about getting Nike + or other personal training systems, but I think I prefer whimisical, story-telling data more than the hard-core productivity data. The Dopplr annual report is lovely because it encourages reflection and narrativisation, rather than instant action.
I think time is the crucial factor here. Systems that give you real-time data cause you to stress, as the assumption is that you need to act on the information NOW! The Dopplr annual report and Daytum encourage a slower, more reflective accumulation of data that you can make sense of retrospectively. The call to action is not ‘What are you doing?’ but rather ‘Remember when?’.
Facebook is far too in-the-now for me – it’s great if you’re there all the time, but its emphasis being contemporaneous is tiring. Twitter I can just about cope with, partly because natural eddies of conversation and reflection pop up all the time, and the strict format means its easier to follow. I hate automated updates in twitter, and have offended at least one friend by calling them out for spamming their feed with automatic blog or picture updates.
I’m much more interested in automated nostalgia than automated presence – data feeds that gradually acrue in your wake, rather than constantly dragging your focus on to the next five minutes. Then the next five minutes. Then the next five minutes… There are a million ways to interpret our data histories, and many of them depend on a period of reflection and absorption, rather than Just In Time decision-making.
Nicholas Feltron’s gorgeous Feltron Annual Report for 2007 is a particularly fine example of the formula – we might express it as Data+Time=Story. In this case, beautiful design helps. I commissioned Live/Work to do a research project on personal data when I was at the BBC in around 2007, and they came up with a similar idea as a way for the BBC to represent each license-fee payer’s use of BBC resources. It was a handsome, bound book with beautiful visualisations of the content and your use of it. Unfortunately, it seems the project went nowhere after I left the beeb.
Even earlier, when I was commissioning Digital Art projects in Huddersfield, we gave Lucy Kimbell some early research funding for a project that became The Lix Index. Lucy was way ahead of the personal data/spime curve, and created a slightly tongue-in-cheek art project that applied business management and financial data models to her personal life, career, and social network. The various data sets she covered included orgasms and bad dreams. That’s a good example of the kind of data that you can only really share in slow way. If you want to tell me in real time on twitter about your orgasms or bad dreams that’s great, but, if its allright with you, I’ll wait for the book version.
TechCrunch has an illuminating report on the Bear Stearns suggestions for Yahoo, and includes their definition of four kinds of social network:
Leisure-Orientated Sites: entertainment sites, open to all users – eg Myspace, Facebook, Friendster, Bebo, Orkut, Windows Live Space, Hi5
Professional Networking Sites: Sites focusing on business networking – Linkedin, itLinkz
Media Sharing Sites: sites focusing on the distribution and consumption of user-generated multi-media content, such as videos and photos – Youtube, Flickr
Virtual Meeting Place Sites: sites that are essentially a 3-D virtual world, built and owned by its residents (the users) – Second Life
These definitions feel a bit haphazard and thrown together – a mixture of user behaviours (networking, leisure) and media objects (video, photos). I’m not sure these distinctions are that valuable as an tool for analysing social networking – they don’t speak enough about user’s motivations for using services, nor the kind of relationships and behaviours that the services engender amongst their users.
As part of my current job, I’ve been trying to find a way of describing social media spaces in a way that can be shared by both traditional media indies and digital media agencies. The former understand genres and formats, whilst the latter understand platforms and networks. After a few weeks of gradually finding out what doesn’t work, I’ve ended up adopting a more user-centred model, based on the assumptions users have about what they can *do* in certain kinds of space, who they’ll be doing it with, and what kinds of behaviours are expected. I’ve been meaning to write this up for a while, so here they are – six different types of social spaces, based on behaviours and expectations, not platforms, genres or formats. Caveat – this a crude analysis, and the examples are not exclusive – there are lots of overlaps between these spaces; and they exist both online and offline:
Behaviours: Private, intimate communication, normally with only one or two others, often using private references, slang or code
Expectations: Absolute privacy and control over the communication between users, and no unauthorised communication from third parties (eg spam)
Examples: SMS, IM
Behaviours: Reinforcing the identity of a self-defined group, and your position within the group, eg ‘stroking‘ behaviour to let the group share a sense of belonging, or mild competitiveness to signal hierarchies within the group (eg who has the most friends, posts, tags, etc)
Expectations: A shared reference point for the group – eg a band, football club, school, workplace, region, etc. Rules about approving membership of the group, and icons for the group to signal their membership (badges, profiles, etc)
Examples: Facebook, Myspace, Bebo, etc
Behaviours: Creating your own content or showcasing your talents to an audience outside of your usual social group
Expectations: The ability to control the context and presentation of your creative content. Ways to receive feedback, comments and advice from other users.
Examples: Flickr, Youtube, Revver, etc
Behaviours: Playing a defined role within a game structure. Experimenting through simulation, rehearsal and teamwork to achieve a goal. Iterative exploration or repetition of activities in order to perfect their performance
Expectations: A clear set of rules that is understood by all players. Clear rewards for success or failure. The ability to test the boundaries of the game structure, or to perform extravagantly to show off your talents
Examples: MMORPGs, Sports, Drama
Behaviours: Co-ordination of lots of small individual acts to achieve a common goal. Shared belief in the goal, and advocacy to encourage participation by others.
Expectations: Rules or structures that help co-ordinate activity towards the goal. The ability to create micro-communities within larger participation groups – eg a group of friends going on a political march together, or a workplace group created to train for a marathon
Examples: Meetup, Threadless, CambrianHouse.com, MySociety
Behaviours: Passive viewing of a linear event as part of a large group. Organising a group to attend an event, and sharing experiences afterwards
Expectations: Spectacle, entertainment, a feeling of thrill or joy. A shared sense of occasion, or of being taking out of your everyday existence for the duration of the event. Mementos or relics of the event (eg programmes, tickets, recordings, photos, etc)
Examples: Television, Cinema, Sports, Theatre, etc
So – I’ve been using these six spaces to try and get people to think outside of platforms, technology, genres or formats, and to think instead of what users might be *doing* in these spaces, and what they might be doing it *for*. Using these spaces as the inspiration for designing interactions should help us to think about how users’ *feel* about the services they use, and what kinds of implicit expectations they have of the service and other users. It asks questions for people designing services, or projects that are based on these services. Who is in control of what elements of the service? What kind of conversations are users having, and with whom? What kind of behaviours are accepted, and how are they rewarded? What kind of behaviours are rejected, and what are the punishments?
I’m sure there are many, many variants of this kind of analysis around the web, but I’ve found it really useful as a way of helping people think of the ‘register’ the project is operating within, to design from the point of view of the user, and to make sure we don’t cross implicit boundaries that will offend them or discourage participation.
Will Davies’ article The cold, cold heart of Web 2.0 compares the efficient online tools that are increasingly structuring our social and cultural lives with the work of Nobel Prize winning economist Gary Becker. Becker pushed economic analysis into sociological and behavioural studies, and Will likens this to web 2.0 extending the efficiency gains that web 1.0 made for the retail sector into more personal networks:
Where Becker took the utilitarian assumptions of economics and pushed them into areas of society seemingly untouched by rational self-interest, Web 2.0 takes the efficiency-enhancing capabilities of digital technology and pushes them into areas of society previously untouched by efficiency criteria.
But in both cases there is a crucial aspect of human relations that is missed out and threatened as a result. This is that the means by which people discover, choose or access something can very often contribute its value. People are not only outcome-oriented.
Will worries that the increased speed of selection and consumption erases the inefficiences that create texture to our experiences:
[…]when we vote, chat to neighbours, browse through a record shop we are not seeking some outcome in the most efficient manner available. We are engaging in an activity that we find valuable
I normally find myself in complete agreement with Will – he is one of the most informed crtics of web culture, in that he applies rigorous, well researched thought to otherwise hyped debate, rather than being a knee-jerk nay-sayer. But in this piece he risks coming across a reactionary luddite, another Carr or Keen.
His mistake is best illustrated in the last quote above, where he gives three very different examples of human behaviour – voting, chatting to neighbours and browsing through a record shop – and suggests that Web 2.0 strategies seek to find the same efficiences in each type of transaction.
This is too crude a comparison – each of those relationships is fundamentally different, with different power relationships, cultural and financial contexts. To say that Web 2.0 strategies seek to collapse each of these different contexts into a ruthless drive for efficiency simply isn’t true.
His argument is strongest in the first scenario. He has previously pointed out the dangerous illusion that lowering the barriers to political participation is always desirable. He has called for an ‘ethics of inconvenience’ that seeks to preserve the friction in certain experiences as a way of ensuring their value is not degraded.
But what value is *really* lost through making it more efficient to chat with friends or by replacing record shops with online marketplaces? And, by the way, can we all stop talking using vinyl records as the arbiter of some kind of high-water mark for physical culture? Nick Carr’s recent Long Player post is another eulogy to the LP, which Clay Shirky has unpicked as cultural nostalgia for the LP as the “natural unit of music”, rather than an accident of the production technology available at the time.
There is an important question being overlooked in all these debates. It is not about whether ‘inefficient’ cultural and social value is lost in new technological networks (ie whether buying an LP or chatting over a fence is a more valuable cultural experience than browsing iTunes or reading Twitter). Instead, we should be looking at whether users can readily re-inscribe these values onto the new networks in their own ways. In other words – can we make these new spaces our own? Can we add noise to the signal, and does it matter if this drowns out the new, efficient, transaction itself?
In all Will’s examples, the question is not whether efficiency is a valid goal, but whether the drive for efficiency reduces ownership and transparency – whether we’re being locked into new transaction models that we can’t twist and annotate, or whether efficiency in fact creates more adaptable and mutable systems that can start to accrue new forms of ‘noise’.
A voting system that seeks to make participation more efficient whilst reducing the ability to contextualise this participation within free and open debate would indeed be a disaster, so we should strive for systems that create as much ‘noise’ around the moment of participation as possible. Sharing cultural objects has arguably – through MP3 blogs, bluetooth exchanges, etc – become more deeply ingrained in social contexts than in the ‘golden years’ of the LP. As someone who has spent more time than is strictly healthy thumbing through racks in record stores and fairs, I can admit that what we’ve lost through the ongoing digital revolution are actually feelings of privilege, snobbery and exclusivity, not some shared cultural experience.
Geoffrey Batchen has written movingly about how photography created new opportunities for cultural and social expressions. Cheap portrait photography was a far more efficient, democratic form of representation, and this openness led to vernacular annotations that re-inscribed older social currencies onto the new forms – lockets combining photos with locks of lovers hair; silver frames that included casts of baby’s boots alongside their photo. The incredibly diverse forms of social exchange on social networking services like Facebook, Flickr, etc are merely the most recent forms of this vernacular expression.
Will Davies might think that Web 2.0 has a ‘cold, cold heart’, but this is only true if you assume that ‘efficiency’ is the primary goal. Rather than arguing whether efficiency is good or bad on its own terms, we must instead place these efficiencies in context, and ask whether they increase or decrease the ability for users to re-inscribe their own cultural values in new forms. Is there more noise, more heat? or a cold, cold heart?