Our Quantified Life
The primary measure of progress
SAFe is oriented around volume, not value
Outcomes decide
Design as an engineering problem
Obsessed with absolute numbers
Lost purposes
The case against heatmaps
It's All Over
An Essay by Justin E. H. SmithIt has come to seem to me recently that this present moment must be to language something like what the Industrial Revolution was to textiles. A writer who works on the old system of production can spend days crafting a sentence, putting what feels like a worthy idea into language, only to find, once finished, that the internet has already produced countless sentences that are more or less just like it, even if these lack the same artisanal origin story that we imagine gives writing its soul. There is, it seems to me, no more place for writers and thinkers in our future than, since the nineteenth century, there has been for weavers.
Time-based analytics
An Article by Ryan SingerAnalytics apps don't tell you much about usage behavior. You might be able to see how many users performed an event, or how many times they did it. But none of the analytics packages out there are good at showing you how often people do things. Are they using to-dos once a week? Every day? Only signing into the app once a month but happily paying for years?
Time matters. You can't understand usage without time.
Fast Path to a Great UX – Increased Exposure Hours
An Article by Jared SpoolAs we’ve been researching what design teams need to do to create great user experiences, we’ve stumbled across an interesting finding. It’s the closest thing we’ve found to a silver bullet when it comes to reliably improving the designs teams produce.
The solution? Exposure hours. The number of hours each team member is exposed directly to real users interacting with the team’s designs or the team’s competitor’s designs. There is a direct correlation between this exposure and the improvements we see in the designs that team produces.
Metrics have a strange hold on the imagination
A Fragment by Shawn WangOnce in place, metrics have a strange hold on the imagination: I've seriously had a CTO carelessly reject my genuine idea out of hand because "it doesn't help OKRs", the same OKRs we previously agreed should not describe all that we do.
I agree with Amir Shevat that we should "do the right things over the easy to measure things."
How would you feel if you could no longer use the product?
An ArticleThe product/market fit definitions I had found were vivid and compelling, but they were lagging indicators — by the time investment bankers are staking out your house, you already have product/market fit. Instead, Ellis had found a leading indicator: just ask users “how would you feel if you could no longer use the product?” and measure the percent who answer “very disappointed.”
Site performance is potentially the most important metric
A Fragment by Kealan ParrSite performance is potentially the most important metric. The better the performance, the better chance that users stay on a page, read content, make purchases, or just about whatever they need to do. A 2017 study by Akamai says as much when it found that even a 100ms delay in page load can decrease conversions by 7% and lose 1% of their sales for every 100ms it takes for their site to load which, at the time of the study, was equivalent to $1.6 billion if the site slowed down by just one second.
The McNamara fallacy
A DefinitionThe McNamara fallacy, named for Robert McNamara, the US Secretary of Defense from 1961 to 1968, involves making a decision based solely on quantitative observations (or metrics) and ignoring all others. The reason given is often that these other observations cannot be proven.
The fallacy refers to McNamara's belief as to what led the United States to defeat in the Vietnam War—specifically, his quantification of success in the war (e.g., in terms of enemy body count), ignoring other variables.
Artifice, blindness, and suicide
A QuoteThe first step is to measure whatever can be easily measured. This is OK as far as it goes. The second step is to disregard that which can't be easily measured or to give it an arbitrary quantitative value. This is artificial and misleading. The third step is to presume that what can't be measured easily really isn't important. This is blindness. The fourth step is to say that what can't be easily measured really doesn't exist. This is suicide.
Weighing up UX
An Article by Jeremy KeithMetrics come up when we’re talking about A/B testing, growth design, and all of the practices that help designers get their seat at the table (to use the well-worn cliché). But while metrics are very useful for measuring design’s benefit to the business, they’re not really cut out for measuring user experience.
Predicted Mean Vote
A DefinitionThe predicted mean vote (PMV) was developed by Povl Ole Fanger at Kansas State University and the Technical University of Denmark as an empirical fit to the human sensation of thermal comfort. It was later adopted as an ISO standard. It predicts the average vote of a large group of people on the a seven-point thermal sensation scale where:
- +3 = hot
- +2 = warm
- +1 = slightly warm
- 0 = neutral
- -1 = slightly cool
- -2 = cool
- -3 = cold
What Do Metrics Want? How Quantification Prescribes Social Interaction on Facebook
A Research Paper by Benjamin GrosserWhat are the effects of this enumeration, of these metrics that count our social interactions? In other words, how are the designs of Facebook leading us to act, and to interact in certain ways and not in others? For example, would we add as many friends if we weren’t constantly confronted with how many we have? Would we “like” as many ads if we weren’t told how many others liked them before us? Would we comment on others’ statuses as often if we weren’t told how many friends responded to each comment?
In this paper, I question the effects of metrics from three angles. First I examine how our need for personal worth, within the confines of capitalism, transforms into an insatiable “desire for more.” Second, with this desire in mind, I analyze the metric components of Facebook’s interface using a software studies methodology, exploring how these numbers function and how they act upon the site’s users. Finally, I discuss my software, born from my research-based artistic practice, called Facebook Demetricator (2012-present). Facebook Demetricator removes all metrics from the Facebook interface, inviting the site’s users to try the system without the numbers and to see how that removal changes their experience. With this free web browser extension, I aim to disrupt the prescribed sociality produced through metrics, enabling a social media culture less dependent on quantification.
The Architecture of Happiness
A few millimeters apart
Aesthetes force us to consider whether happiness may not sometimes turn on the presence or absence of a fingerprint, whether in certain situations beauty and ugliness may not lie only a few millimeters apart, whether a single mark might not wreck a wall or an errant brush stroke undo a landscape painting.
Tragic colors
Life may have to show itself to us in some of its authentically tragic colors before we can begin to grow properly visually responsive to its subtler offerings.
Classical absurdity
Corbusier observed that the requirements of flight of necessity rid airplanes of all superfluous decoration and so unwittingly transformed them into successful pieces of architecture. To place a Classical statue atop a house was as absurd as to add one to a plane, he noted, but at least by crashing in response to this addition, the plane had the advantage of rendering its absurdity starkly manifest.
Ideas of a good life
In essence, what works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods that they seek to encourage and sustain in their inhabitants. While keeping us warm and helping us in mechanical ways, they simultaneously hold out an invitation for us to be specific sorts of people. They speak of visions of happiness.
To describe a building as beautiful therefore suggests more than a mere aesthetic fondness; it implies an attraction to the particular way of life this structure is promoting through its roof, door handles, window frames, staircase, and furnishings. A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life.
The people we love
The objects we describe as beautiful are versions of the people we love.
The search for happiness
If the search for happiness is the underlying quest of our lives, it seems only natural that it should simultaneously be the essential theme to which beauty alludes.
An equivalence
In both early Christianity and Islam, theologians made a claim about architecture likely to sound so peculiar to modern ears as to be worth of sustained examination: they proposed that beautiful buildings had the power to improve us morally and spiritually. They believed that, rather than corrupting us, rather than being an idle indulgence for the decadent, exquisite surroundings could edge us towards perfection. A beautiful building could reinforce our resolve to be good.
Behind this distinctive claim lay another astonishing belief: that of an equivalence between the visual and ethical realms.
Inwardly to resemble
What we want, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.
We can conclude from this that we are drawn to call something beautiful whenever we detect that it contains in a concentrated form those qualities which we personally, or our societies more generally, are deficient.
The gathering darkness of a Sunday evening
Our jobs make relentless calls on a narrow band of our faculties, reducing our chances of achieving rounded personalities and leaving us to suspect (often in the gathering darkness of a Sunday evening) that much of who we are, or could be, has gone unexplored.
What we don't like
A grasp of the psychological mechanism behind taste may not change our sense of what we find beautiful, but it can prevent us from reacting to what we don’t like with simple disbelief.
Our understanding of the psychology of taste can in turn help us to escape from the two great dogmas of aesthetics: the view that there is only one acceptable visual style or (even more implausibly) that all styles are equally valid.
Over-imagination
An architect intent on being different may in the end prove as troubling as an over-imaginative pilot or doctor. However important originality may be in some fields, restraint and adherence to procedure emerge as the more significant virtues in a great many others.
We rarely wish to be surprised by novelty as we round street corners. We require consistency in our buildings, for we are ourselves frequently close to disorientation and frenzy.
The extremes of order and complexity
Such works emphasize the truth of the ancient maxim that beauty lies between the extremes of order and complexity.
It follows that the balance we approve of in architecture, and which we anoint with the word ‘beautiful’, alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled.
Beauty and strength
Yet the bridge testifies to how closely a certain kind of beauty is bound up with our admiration for strength, for man-made objects which can withstand the life-destroying forces of heat, cold, gravity or wind.
We respond with emotion to creations which transport us across distances we could never walk, which shelter us during storms we could not weather, which pick up signals we could never hear with our own ears and which hang daintily off cliffs from which we would fall instantly to our deaths.
With grace and economy
Both bridges accomplish daring feats, but Maillart’s possesses the added virtue of making its achievement look effortless - and because we sense it isn’t, we wonder at it and admire it all the more. The bridge is endowed with a subcategory of beauty we can refer to as elegance, a quality present whenever a work of architecture succeeds in carrying out an act of resistance - holding, spanning, sheltering - with grace and economy as well as strength; when it has the modesty not to draw attention to the difficulties it has surmounted.
The dignity of age
Wood and stone, and now concrete and wood, age slowly and with dignity. They do not shatter hysterically like glass, or tear like paper, but discolor with a melancholy, noble air.
Apportioning value
Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. ‘Culture’ is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.
There was no fog in London
It is books, poems and paintings which often give us the confidence to take seriously feelings in ourselves that we might otherwise never have thought to acknowledge. Oscar Wilde referred to this phenomenon when he quipped that there was no fog in London before Whistler started painting the Thames. Likewise, there must have been little beauty in old stones before Japanese priests and poets began writing about them.
To the worms and the trees
We owe it to the fields that our houses will not be the inferiors of the virgin land they have replaced. We owe it to the worms and the trees that the buildings we cover them with will stand as promises of the highest and most intelligent kinds of happiness.