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Marsha	Haverty
Acting	naturally
@mjane_h
UX	WEEK	2017
Why	design	needs	ecological	psychology
Useful
Clear
Accessible
Usable
GOOD
Resilient
As a field, we have a lot to say about the qualities a design should have to support a good experience.
Yet, the raw materials of our designs are increasing greatly in variety.
VARIETY
Haptic hologram model image: ykaradayi via Instructables
How	information	manifests
e have more variety in how the information manifests. n addition to more traditional mixes of text
and images, we have data visuali ations, holograms that occupy our physical surroundings, alerts to
state changes in the form of mechanical vibrations and sounds.
VARIETY
How	information	manifests
How	actors	engage
Woman	hailing	drone:		Mercedez-Benz	;	Haptic hologram model image: ykaradayi via Instructables; Girl	with	Amazon	Echo:	Android	Central
e have more variety in how actors engage. hings li e gesturing, sculpting directly in physical
surroundings, tal ing aloud.
VARIETY
How	information	manifests
How	actors	engage
Autonomy	&	intelligence
Offload Assist Learn
e have more variety in the autonomy and intelligence of our designs. esigns that go out and
do or learn things on behalf of actors and then report bac . eigns that accelerate actors
activities, or go out and learn and bring that bac to the actor.
Mode	switching	across	contexts
Voice	CommandsGesture
Touch
Mouse
Text
SoundsDigital	Agents
Visualizations
Mechanical	
Vibrations	
Assistive
Technology
Machine
Learning
Simulated	
Objects
e are experimenting with mode switching to ta e our actors on more complex ourneys
across contexts. aybe the actor types in some text in one situation, then, later issues a voice
command, or taps in a selection, within the same meaningful activity.
Mode	switching	across	contexts
Gesture
Touch
Mouse
SoundsDigital	Agents
Visualizations
Mechanical	
Vibrations	
Machine
Learning
Simulated	
Objects
Voice	Commands
Text
Assistive
Technology
aybe a simulated ob ect will issue a little sound to indicate it has learned a new capability,
and the actor performs a little gesture to say, reat, show me later.
Mode	switching	across	contexts
Gesture
Touch
Mouse Visualizations
Mechanical	
Vibrations	
SoundsDigital	Agents
Assistive
Technology
Machine
Learning
Simulated	
Objects
Voice	Commands
Text
And many other mode combinations that we are wor ing out across more complex
activities.
Image:	DMITRIS_K	Big	Think	
Can’t	see	why	with	usual	principles
USEFUL
CLEAR
ACCESSIBLE
USABLE
RESILIENT
ome of these experiences feel quite natural, once our actors get the hang of
them. And others feel li e novelties they don t really want to be doing for very long.
And we can t really see why with our usual principles.
Image:	DMITRIS_K	Big	Think	
…NATURAL
Something	deeper	still…
here s something deeper still about us as humans that ma es an experience feel
natural or distinctly off.
New	vs.	Familiar
Simulated	vs.	Physical
Intelligent	vs.	Mundane
Photo	by	permission:	Hugh	Hochman
hat do we mean by an experience that feels natural t doesn t depend on whether the interaction is
new or familiar, it doesn t matter whether the information is physically present or simulated, it doesn t
matter whether the design has some agency and intelligence, or is mundane. As humans, we re really
good at assembling our actions in new ways. here s something deeper still that ma es an experience
feel natural or distinctly off.
The	way	we,	as	humans,
rely	on	information	in	our	
surroundings	to	behaveEcological	
Psychology
Photo	by	permission:	Hugh	Hochman
he field of ecological psychology shows us that natural behavior is about the way we as humans rely
on information in our surroundings to behave.
Human brain connections image: Barcroft Media via Daily Mail
And that has to do with the way we thin about these beautiful brains that we wal around with.
Acting naturally: why design needs ecological psychology
Behavior
Surroundings
Traditional	cognition
raditional cognition says we ta e in information from our surroundings, then our brains do all the
wor to process that information and derive meaning and decide actions, and that is output as
behavior.
Embodied	
cognition
mbodied cognition, the style that ecological psychology is organi ed around
Embodied	
cognition
suggests that meaning emerges as we engage the information in our surroundings
directly. nformation is not an input, but a vital participant in human behavior. e depend on
it in order to behave.
We	humans	rely	on	
information	in	our	
surroundings	to	behave
Two	fundamental	things	all	human	behavior	is	about
Each	relies	on	different	properties	of	information
Ecological	
Psychology
Photo	by	permission:	Hugh	Hochman
e humans rely on information in our surroundings in order to behave. hen information has the right
properties we are relying on, the behavior feels natural. hen those properties are missing, the behavior
feels off. rom some of the earliest thin ing in ecological psychology, and some very recent thin ing, we
can see that there are two fundamental things all human behavior is about. And each relies on different
properties of information to facilitate natural human behavior.
Designs	have	properties	to	
facilitate	user	experiences
that	feel	natural
Two	fundamental	things	all	human	behavior	is	about
Each	relies	on	different	properties	of	information
Ecological	
Psychology
Photo	by	permission:	Hugh	Hochman
e can use this as designers to create designs that have properties to facilitate user experiences that
feel natural.
Two	fundamental	things	all	human	behavior	is	about
Each	relies	on	different	properties	of	information
AFFORDANCES
Photo	by	permission:	Hugh	Hochman
n order to see these things, we have to be very clear about what we mean by affordances.
AFFORDANCES
Button	sketch:	Demodern;	piano	photo:	CC0	free	use	license
“Perceived	affordance	for	action” “Real	affordance	for	action”
n design, we we tal about something li e our humble wor horse, the button, we hear things a
button has a perceived affordance for action as compared to a physical button that has a real
affordance for action. e place all the emphasis on the distinction between perceived and real,
yet say they both prompt action.
AFFORDANCES
Button	sketch:	Demodern;	piano	photo:	CC0	free	use	license
“Perceived	affordance	for	action” “Real	affordance	for	action”
cological psychology shows us that the two inds of actions are very different, and each relies
on very different properties of information. n this distinction, we get to the two fundamental
things all human behavior is about... ut, to get there, we need to ta e affordances bac ....
All the way bac o the s.
Photo	Sverker Runeson
James	Gibson
And ames ibson, the founder of ecological psychology. e coined the term affordances
in .
Photo	Sverker Runeson
ibson captured his concept of affordances in the boo , An ecological approach to
visual perception. he core of affordances to ibson is the ob ect offers what it does
because of what it is.
Image:	A	Chair	in	a	Room,	Wolf	&	Wood	Interactive,	Ltd.
o see what he means by this, we can loo at a chair in virtual reality.
As	humans,	we	will	naturally
try	to	sit	on	a	chair	in	virtual	reality
Image:	A	Chair	in	a	Room,	Wolf	&	Wood	Interactive,	Ltd.
Aluminum	 chair	image	by	Emeco;	coconut	chair	image	by	RoveConcepts;	all	other	chair	images	free	use
Surfaces
Edges
Textures
Invariant	Structure
Perceive	affordance
Engage	affordance
ur whole lives, we have become attuned to the properties of ob ects that are sittable to us. e pic up on the
relationships in the way the surface of the ob ect is proportional to us, the relationship between the edges of
the surface and the support legs, the relationship of the support legs whether , , or to the ground. ot
only can we perceive the affordance in invariant structure, we can engage it because part of that information is
about the substance and sturdiness of the chair. e rely on that information to help us control our physical
action of sitting.
Back	in	virtual	reality…
Image:	A	Chair	in	a	Room,	Wolf	&	Wood	Interactive,	Ltd.
Sittable-to-me
PERCEIVE	AFFORDANCE
Control	physical
action	of	sitting
ENGAGE	AFFORDANCE
ac in virtual reality perceive that this ob ect is sittable to me. Yet, when go about relying on this
information to control my physical action of sitting, it s not there
"It	is	important	to	remember	that	
simulated	objects,	such	as	furniture,	
that	may	be	encountered	while	using	
the	product	do	not	exist	in	the	real	
world,	and	injuries	may	result	when	
interacting	with	those	simulated	
objects	as	if	they	were	real,	for	
example,	by	attempting	to	sit	down	
on	a	virtual	chair"
VR	manufacturer	user	guide
e can tell people not to sit....
“There's	no	physical	furniture	to	
break	your	fall	when	you	try	to	sit	in	
a	virtual	chair.
Someone	asked,	Where	did	that	
bruise	come	from?
I achieved	presence.”
VR	game	player
ut game players report things li e....
Photo	Cornell	University
ames ibson would tell us that s not really about presence or immersion. t s about this
fundamental way that we as humans rely on information to behave. e humans are attuned as
sitters. And sitters are gonna sit.
Affordances
PerceivingAnticipating
ActingAligning
Invariant	Structure
Attunement
Affordance
LAYOUT	&	OBJECTS
Reference:	Turvey,	Michael	(1992).	Affordances	and	prospective	control:	an	outline	of	the	ontology,	Ecological	Psychology	(4)3	173-187
Let’s capture all of this in a diagram. The important point here is that we rely on the
affordance both for perceiving meaningful action and to help us control our actions
unfolding over time.
Text
Affordances
Continuously	orienting	physical	actions
PerceivingAnticipating
ActingAligning
Invariant	Structure
Attunement
Affordance
LAYOUT	&	OBJECTS
Reference:	Turvey,	Michael	(1992).	Affordances	and	prospective	control:	an	outline	of	the	ontology,	Ecological	Psychology	(4)3	173-187
Engaging affordances is about continuously orienting our physical actions. That’s what
affordances are for. This places soem pretty hefty requirements on the properties of
information that can become affordances.
Dense,	persistent,	lawful
Visual	Information
Surfaces
Edges
Textures
Free	use	image Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
hen we are wal ing on a trail, we rely on visual information to both perceive that the trail is
wal able to us, and to go about the action of wal ing. he surface of the trail, the edges that
help define trail not trail, the textures that let us now that is wal able, must be dense there is
a lot of visual information to help us pic up the layout of our surroundings, and persistent
Free	use	image Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
Dense,	persistent,	lawful
Visual	Information
Surfaces
Edges
Textures
if the visual infomration is blotted out, we can no longer go about wal ing on the trail....
Dense,	persistent,	lawful
Visual	Information
Surfaces
Edges
Textures
Free	use	image Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
and lawful once we are attuned to the affordances that this trail is wal able to us, we need
to be able to rely on that as we engage these affordances. he information is about what this
layout is made of. e can rely on it.
Affordances
PerceivingAnticipating
ActingAligning
DENSE
PERSISTENT
LAWFUL
PERCEPTUAL	
INFORMATION
Attunement
Invariant	Structure
Affordance
LAYOUT	&	OBJECTS
Continuously	orienting	physical	actions
Reference:	Turvey,	Michael	(1992).	Affordances	and	prospective	control:	an	outline	of	the	ontology,	Ecological	Psychology	(4)3	173-187
We see that the information to support engaging affordances has to be dense, persistent,
and lawful. But it also has to be made of perceptual information. Language is not dense
or persistent enough to rely on.
Straighten	
the	glass!
Turn	down	
the	water!
Free	use	image
e can micromanage a toddler trying to fill a glass without spilling all we li e, but the toddler can t
rely on our words to control her action unfolding over time. he has to become attuned to perceptual
information the alignment of the edges of the glass to the edges of the water flow, the width of the
water flow related to the surface rising in the glass. And once she becomes attuned to these
perceptual relationships, they will serve as affordances for her filling a glass without spilling
Macro	photo	of	Kindle	Reader	e-ink;	vocal	tract	anatomy		Bruno	Dubuc
SPOON
Meaning	by	
convention
Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
Concepts	are	different
hat s because concepts are different. hen we read a statement about equality or hear someone tal about a
spoon, the meaning is not about the underlying dynamics that created the information. he meaning of the
concept equality is not about the properties of the in that created the letters in the text. he meaning of the
concept spoon is not about the function of the larynx from the person that uttered it. he meaning of language is
by convention. e agree on conventional meaning as part of our culture and that functions as reasonably stable.
As humans, we rely on very different properties of language to engage with it than we do with affordances.
Perceive	invariant	structure?
Control	physical	action	over	time?	
o what about our button oes this ob ect offer what it does because of what it is an our
actors perceive this invariant structure Yes utton, clic able, got it an actors rely on this
information to control their physical actions over time in the act of engaging the button
Image	by	Steelcase
hen an actor is clic ing or tapping a button, she can physically be doing any number of things sitting, lounging,
wal ing, etc. f course some physical action on her part is needed to get that cursor or her finger over that button
to clic it. he angle and tra ectory of her arm, the position of her wrist and fingers can ta e on a whole range of
tra ectories to do the meaningful action of engaging the button. he s relying on the visual information in the button
to now it s clic able, but she s not relying on that information to control her physical actions over time as she
clic s the button. he way she is physically orienting is not where the meaning lies.
Orienting	
physically	*is*	
the	meaning
of	the	activity
Tilt	Brush	example	by	Google	on	https://www.tiltbrush.com/
go watch this animation online to get the idea here. iltbrush.com
ompare that to this this woman is s etching in a . he particular way she is orienting her hand, her wrist, her
arm, her whole body the meaning of the activity of s etching directly in her surroundings. he first bit of light she
creates then becomes affordances she relies on continuously to orient herself physically in order to continuously
create her curves of light. hat s what a s etch is. very curve is with respect to the existing curves. he is relying
on this information to control her particular action unfolding over time.
This	object	offers	what	it	does
by	convention
A	concept	infused	with
visual	qualities	
Information	visualization	of	
the	concept	of	submitting,	saving,	ending,	….	
his ob ect offers what it does not because of what it is, but by convention. t is a concept
infused with visual qualities. t s an information visuali ation of the concept of submitting, or
saving, or ending. epending on what that action means. t s a very different ind of action than
engaging affordances. t relies on information in a different way.
ConceptsAFFORDANCES
e ve ust gone to a lot of trouble to pull concepts bac out of our notion of affordances.
Concepts
So	picky!!!
e re being so pic y now
Concepts
Fundamental	Human	Behavior
Sabrina	Golonka
Ecological	Psychologist
Image	by	Reality	Reporter
ut we need to do this in order to tal about fundamental human behavior. A present day
ecological psychologist, abrina olon a, gives us this understanding.
Concepts
Fundamental	Human	Behavior
Controlling	action
unfolding	continuously
over	time
Selecting	which	action	
to	engage
Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
e re being so pic y to separate out concepts from affordances, even thought it s historically
been useful for us to combine them, so that we can see the two fundmental things all human
behavior is about electing which action among possible actions to engage, and controlling
action unfolding continuously over time. ach of these rely on different properties of
information.
Concepts
Fundamental	Human	Behavior
Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
ACTOR	AS	CONDUCTOR ACTOR	AS	SCULPTOR
hen we support these behaviors in design, call selecting action with concepts Actor as
Conductor. And controlling action with affordances, Actor as Sculptor.
ACTOR	AS	CONDUCTOR
Selecting
Selecting
Selecting
Selecting
Gif	of	Alondra	de	la	Narra:	http://indieclassical.tumblr.com/post/138392136778/exercisesinhumiliation-alondra-de-la-parra-is	
hen we thin about using a website to find things, the actor creates a search this is selecting
action. he system returns results and as the actor aligns with the meaning of the results, she
may ad ust her search, selecting an action again. he system returns the new results and she
aligns with the meaning of those. he may select a filter selecting another, each time she
selects, she bases her next selecting on aligning with the meaning of the results of the system.
ACTOR	AS	CONDUCTOR
Selecting
Selecting
Selecting
Selecting
Software	image	via	Autodesk	Fusion	360Gif	of	Alondra	de	la	Narra:	http://indieclassical.tumblr.com/post/138392136778/exercisesinhumiliation-alondra-de-la-parra-is	
imilar with software the actor is selecting actions on a property panel for a command. hen
she selects areas of the design on which to apply the command, then she selects to execute
the command selecting, selecting, selecting.
ACTOR	AS	CONDUCTOR
Cascade	of	iterative	
selections	…
The	action	of	
selecting	action
Gif	of	Alondra	de	la	Narra:	http://indieclassical.tumblr.com/post/138392136778/exercisesinhumiliation-alondra-de-la-parra-is	
he ind of action involved in actor as conductor is a cascade of iterative selections. t s the
action of selecting action. his is a weird ind of action we support
Tilt	Brush	example	by	Google	on	https://www.tiltbrush.com/
Orienting	
physically	*is*	
the	meaning
of	the	activity
ACTOR	AS	SCULPTOR
Pottery	 gif	by	permission	Cherrico Pottery	LLC
et s loo at actor as sculptor. As we ve seen actor as sculptor is about the particular way an
actor is physically orienting over time the meaning of the activity. i e this woman creating a
s etch.
ACTOR	AS	SCULPTOR
Pottery	 gif	by	permission	Cherrico Pottery	LLC
Relying	on	
affordances	to	
control	the	way	
physical	actions	
unfold	over	time
Actor as sculptor is relying on affordances to control the way physical actions unfold over time.
his is a very different ind of action compared to actor as conductor a cascade of selecting
actions .
Industrial	design	of	a	car	supports	both
he industrial design of a car supports both, actor as conductor, and actor as sculptor. he visual information streaming through the
windshield becomes affordances for actor as sculptor to eep the car on the road, and in the lane, and moving around other cars. he
driver is pic ing up on invariant structure in the surfaces and edges of the road and the lane, and the angle relationships of the her car
to the other cars. f a car grows symmetrically, she becomes attuned to that meaning the car is coming right at her she ad usts her
actions to create asymmetric angle growth the car going off to her side . As drivers, we become highly attuned to this perceptual
relationships and rely on that to drive the car. he speedometer supports actor as conductor a glance at her speed and she can use
this information to select to slow down.
ACTOR	AS	CONDUCTOR
Woman	hailing	drone:		Mercedez-Benz	;	Girl	with	Amazon	Echo:	Android	Central
his woman is gesturing to control a drone. he gesture is a particular physical motion, but the meaning
of the gesture is not in the exact way the actor executes it. As long as she gets the gist of the gesture,
the meaning is engaged.
his girl is tal ing aloud to find something or as for something or buy something or answer a question.
he is selecting actions. Also actor as conductor, ust with voice.
Image	via	Autodesk	Pier	9	Residency	Program
ACTOR	AS	SCULPTOR
his actor is sculpting in physical space with a hologram. he wand he is using is wired up to
give haptic information that he can rely on to now where the surfaces of his design is in place.
e can rely on that to continuously control the position of the wand in order to sculpt in .
ACTOR	AS	CONDUCTOR
Image	via	Autodesk	Revit	Live
eleporting in is conducting. he actor selecting where to go next. electing, selecting,
selecting.
Image:	Google	Soli	project
ACTOR	AS	SCULPTOR
his is an experiment using radar to very precisely trac an actors fingers. he actor can mime
turning a dial, pressing a button, moving a slider. his forms a little micro bit of actor as sculptor
because the actors fingers become perceptual information for each other to rely on to control
action unfolding continuously over time.
Action
Perception
Actor	as	Sculptor
Performing	physically	for	a	good	continuation
Aligning
Anticipating
DESIGN
Attunement
PERCEPTUAL	
INFORMATION
Properties
Invariant	Structure
Affordance
DENSE
PERSISTENT
LAWFUL
Reference	for	properties:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
We looked at the properties of information to support engaging affordances earlier: it
must be dense, persistent, and lawful, and it must be made of perceptual information.
When we are talking about designed information, we need to add one more property!
Dense,	persistent,	lawful
Visual	Information
Surfaces
Edges
Textures
Free	use	image Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	Ecological	Psychology	27(3)	p.	236-250
emember this e rely on visual information about affordances of paths when we are
wal ing about our surroundings. hat information must be dense, persitent, and lawful. hen
we design information that supports engaging ob ects and our surroundings, we need one
additional property.
Haptic	Information
Dense	(enough)	
Persistent	(enough)	
Lawful
Surfaces
Edges
his woman has low vision ability, and this vest is designed to generate haptic information on the
surface of the vest to replace visual information about obstacles in her path as she approaches them.
his haptic information is not nearly as dense as visual information. nly for ob ects close to her. t s
not as persistent as constant visual information. ut it s dense enough, persistent enough and certainly
lawful and she can rely on it to control her action of avoiding obstacles continuously over time.
sitters. And sitters are gonna sit.
Sound	Information
Dense	(enough)	
Persistent	(enough)	
Lawful
Incoming	cars
Train/no	train
Crossing	light	timers
Conversations
Physical	obstacles
Reference:	Gaver,	William	W.	(1994).	What	in	the	world	do	we	hear?	An	ecological	approach	to	auditory	perception.	Ecological	Psychology	5(1):	1-29.
Coherent
he problem with using sound for this is she is already relying on lots of other sound
information for the meaningful activity of wayfinding incoming cars, train no train, crossing light
timers, conversations. he sounds of obstacles steps on the sounds of other very important
aspects of wayfinding. o, for designed information, we need to add a principle the information
must be coherent with other information participating in the activity.
Action
Perception
Actor	as	Sculptor
Performing	physically	for	a	good	continuation
Aligning
Anticipating
Attunement
PERCEPTUAL	
INFORMATION
Invariant	Structure
Affordance
DENSE
PERSISTENT
LAWFUL
COHERENT
DESIGN
So we add Coherent to the properties of information to support actor as sculptor.
Action
Perception
Actor	as	Sculptor
Performing	physically	for	a	good	continuation
Aligning
Anticipating
Attunement
PERCEPTUAL	
INFORMATION
Invariant	Structure
Affordance
DENSE
PERSISTENT
LAWFUL
COHERENT
New	Kinds! New	Kinds!
New	Dynamics!
DESIGN
We can infuse our designed objects with new kinds of underlying dynamics. And that
means we must also design in new kinds of invariant structure to become new kinds of
affordances, potentially along with new kinds of actions actors use to engage them. Our
actors need to rely on information in our designs in order to perceive action, but also to
rely on it as the action is unfolding.
New	dynamics	– new	affordances
What	does	a	transformational	
affordance	look	or	sound	or	feel	like?
What	does	a	permutational
affordance	look	or	sound	or	feel	like?
What	dynamic	sound	structures	can	
we	design	to	become	affordances?
What	dynamic	touch	structures	can	
we	design	to	become	affordances?
e ve been tal ing mostly about invariant structure in visual information to serve as
affordances. hat dynamic sound structures can we design to become affordances hat
dynamic touch structures can we design to become affordances hen we thin about new
dynamics what does a transformational affordance loo or sound or feel li e hat does a
transformational affordance loo or sound or feel li e
Action
Perception
Actor	as	Sculptor
Performing	physically	for	a	good	continuation
Aligning
Anticipating
Attunement
PERCEPTUAL	
INFORMATION
Invariant	Structure
Affordance
DENSE
PERSISTENT
LAWFUL
COHERENT
DESIGN
New	Dynamics!
If we give our designed objects new underlying dynamics, but we don’t also have them
radiate information about those dynamics that our actors can perceive and become
attuned to, that’s unnatural behavior.
Actor	as	Conductor
Natural	Human	Conversation
ow let s loo at design properties for actor as conductor. eirdly, we can see this best by
comparing it to a natural human conversation.
Natural	Human	Conversation
Anticipating Improvising
Speaking
Listening
Aligning Entraining
Listening
Aligning Entraining
Anticipating Improvising
Speaking
Cultural	
Possibilities
Cultural	
Possibilities
Thibald Paul	J.	(2011).		First-Order	Languaging Dynamics	and	Second-Order	Language:	The	Distributed	Language	View.	Ecological	 Psychology	23(3):	210-245.Hodges,	Bert	(2014).	Righting	language:	the	view	from	ecological	psychology.	Language	SciencesReferences:
Ecological psychology suggests that when someone in a conversation speaks, they are
anticipating what’s possible in the conversation by improvising wordings. The listener is
aligning and entraining with the speaker. As the dialogue progresses, the participants in
the conversation engage in creative tensions. They are both anticipating and aligning with
the possibilities of the conversation. This points to their shared values as part of culture.
Rhythm
Grammar
Wording
Cultural	
Possibilities
Natural	Human	Conversation
Listening
Rhythm
Grammar
Wording
Aligning Entraining
Anticipating Improvising
Speaking
Cultural	
Possibilities
Anticipating
Listening
Aligning Entraining
Improvising
Speaking
Thibald Paul	J.	(2011).		First-Order	Languaging Dynamics	and	Second-Order	Language:	The	Distributed	Language	View.	Ecological	 Psychology	23(3):	210-245.Hodges,	Bert	(2014).	Righting	language:	the	view	from	ecological	psychology.	Language	SciencesReferences:
They are both improvising and entraining with the rhythm, grammar, wordings of each
other.
Rhythm
Grammar
Wording
Cultural	
Possibilities
Natural	Human	Conversation
Listening
Rhythm
Grammar
Wording
Aligning Entraining
Anticipating Improvising
Speaking
Cultural	
Possibilities
Anticipating
Listening
Aligning Entraining
Improvising
Speaking
CONCEPTS
Coordinating	action	for	a	good	continuation
Thibald Paul	J.	(2011).		First-Order	Languaging Dynamics	and	Second-Order	Language:	The	Distributed	Language	View.	Ecological	 Psychology	23(3):	210-245.Hodges,	Bert	(2014).	Righting	language:	the	view	from	ecological	psychology.	Language	SciencesReferences:
They do this using concepts, conceptual information. And the whole things is about
coordinating action for a good continuation. Even just sitting around joking with friends
can be a good continuation for your shared values and culture.
Listening
Aligning Entraining
Anticipating Improvising
Speaking
Cultural	
Possibilities
Rhythm
Grammar
Wording
Now we can see what we’ve done to this structure as UX designers…. When we don’t
have two actors engaging in a conversation, but….
Actor	as	Conductor
Listening
Aligning
Anticipating
Entraining
Improvising
Speaking
DESIGN
Cultural	
Possibilities
Rhythm
Grammar
Wording
FunctionContent
IA IxD
ID VD
An actor, and a design, the design is made of the elements of user experience that Jesse
outlined for us 15 years ago (Elements of User Experience, Jesse James Garrett).
Actor	as	Conductor
Performing
Aligning
Anticipating
Entraining
Improvising
Performing
Cultural	
Possibilities
DESIGN
Rhythm
Grammar
Wording
FunctionContent
IA IxD
ID VD
Instead of speaking and listening, we say the actor is performing with the system (that
may include clicking, tapping, voice commands, gestures, whatever else we invent for
actors to engage a system.)
Actor	as	Conductor
Performing
Aligning
Anticipating
Entraining
Improvising
Cultural	
Possibilities
DESIGN
Rhythm
Grammar
Wording
FunctionContent
IA IxD
ID VD
Instead of a balance of improvising and entraining…
Actor	as	Conductor
Aligning
Anticipating Improvising
Cultural	
Possibilities
Labels
Grammar
Interactions
Entraining
Performing
DESIGN
FunctionContent
IA IxD
ID VD
The user must fully entrain with the particular labels of categories and navigation
selections, the grammar and particular wordings of searches and voice commands, the
gist of gestures, and so on, in order to engage the system.
Actor	as	Conductor
Aligning
Anticipating Improvising
Labels
Grammar
Interactions
Entraining
Performance	
Possibilities Performing
DESIGN
FunctionContent
IA IxD
ID VD
Instead of cultural possibilities, the actor is anticipating and aligning with performance
possibilities as she engages the system.
Actor	as	Conductor
Aligning
Anticipating Improvising
Labels
Grammar
Interactions
Entraining
Performance
Possibilities
Finding,	 understanding,	creating	artifacts
Performing for	a	good	continuation
Performing
DESIGN
FunctionContent
IA IxD
ID VD
Instead of the system of actor and design performing together to coordinate action for a
good continuation, the actor is performing for a good continuation. This is about finding,
understanding, creating artifacts using software and websites.
Actor	as	Conductor
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Finding,	 understanding,	creating	artifacts
Labels
Grammar
Interactions
Performing	for	a	good	continuation
Zoom	in…
Performing
DESIGN
FunctionContent
IA IxD
ID VD
Some of the things we’ve been experimenting with lately are tinkering with these
mechanics even more. Let’s zoom in and take a look at those.
Actor	as	Conductor
Aligning
Anticipating
Entraining
Improvising
Machine	Learning	(User)
Performance
Possibilities
Labels
Grammar
Interactions
Natural	Language	Processing
hings li e natural language processing and machine learning about the particular lexicon and
phrasings of a specific user is really about ad usting the system s tolerance for imprecision for
entraining. he actor can be a little less precise and still entrain with the system.
Tolerance	for	imprecision	for	entraining	
Entraining
Improvising
NARROW Tolerance
Precise	entrainment
WIDE Tolerance
Forgives	improvising
Standard	searching,	voice	commanding
Searching	with	spelling/wording	 forgiveness
Natural	language	processing
Machine	Learning	user	wordings,	grammar
Entraining
Improvising
hen we thin about tolerance for imprecision for entraining, a system with a narrow tolerance requires very
precise entrainment. omething li e standard searching and voice commanding require precise entrainment.
hings li e searching with spelling wording forgiveness increases the tolerance for imprecision. hings li e
natural language processing and machine learning of the user s particular wordings and grammar greatly
increase the tolerance for imprecision and allow the user to improvise a bit.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
Natural	Language	Processing
Machine	Learning	(User)
Tolerance	for	Imprecision
o, we can say that we are ad usting the tolerance for imprecision for entraining.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
Machine	Learning	(domain)
Natural	Language	Processing
Machine	Learning	(User)
Tolerance	for	Imprecision
achine learning of the domain, or sub ect matter of the design increases the possibilities for
performance by bringing new or enriched information to the performance.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
Machine	Learning	(domain)
Natural	Language	Processing
Machine	Learning	(User)
Tolerance	for	Imprecision
his creates a scenario where the user is continuously aligning as new possibilities and
discoveries are brought by the system. A little less anticipating and a little more aligning, but
the payoff is serendipity and discovery.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
System	Agency
Natural	Language	Processing
Machine	Learning	(User)
Machine	Learning	(Domain)
Tolerance	for	Imprecision
ith digital agents, the actor offloads the performance of anticipating and aligning to the digital
agent. ven so, the agent still has to interrupt the actor occasionally for a decision or a status
update. At that point, the agent must provide the right information to let the actor re enter the
tension of anticipating and aligning to perform for a good continuation with the agent.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
Natural	Language	Processing
Machine	Learning	(User)
Machine	Learning	(Domain)
System	Agency
Conversational	UI
Tolerance	for	Imprecision
onversational is not really about mimic ing natural human conversation as we ve seen
that structure , but about helping the actor pre align with the performance possibilities of the
system by offering what the options may be.
Aligning
Anticipating
Entraining
Improvising
Performance
Possibilities
Labels
Grammar
Interactions
Actor	as	Conductor
Anticipating
Natural	Language	Processing
Machine	Learning	(User)
Machine	Learning	(Domain)
System	Agency
Conversational	UI
Tolerance	for	ImprecisionPossibility	Space	Dynamics
hese inds of things change the dynamics of the possibility space. o, we can see two
mechanics we are tin ering with for the structure of actor as conductor.
Actor	as	Conductor
Aligning
Anticipating
Entraining
Improvising
Finding,	 understanding,	creating	artifacts
Performing	for	a	good	continuation
Performing CONCEPTS
DESIGN
FunctionContent
IA IxD
ID VD
Language
Perceptual	Mappings
Just like a natural human conversation takes place by concepts, so does actor as
conductor. The information in our designs has historically been made of concepts.
Concepts can show up in our designs as language, and we also infuse our concepts with
perceptual information. Let’s look at those…
CONCEPTS
Language
Perceptual	Mappings
Labels
Directive,
Descriptive,
Narrative
Text
Language
Button
Perceptual	Mappings
Information	Visualizations
Sound	MappingsHaptic	Mappings
anguage in our designs manifests as labels for navigation and filtering, directive or descriptive paragraphs and
so forth. e also infuse our concepts with perceptual mappings. hings li e shape, and color, and position, line
quality, and textures are all inds of information visuali ations of concepts. echanical vibrations are haptic
mappings to concepts. e also create mappings between sounds and concepts often alerts, or notifications of
state changes . hat it feels li e to actors engaging both types of conceptual information, though, is very
different.
Button
Perceptual	MappingsLanguage	is	viscous
Awareness
Linearity	
Requires	attention
Information	Visualizations
Sound	MappingsHaptic	Mappings
anguage is more viscous, it requires awareness and attention and rolls linearly.
Perception	flows	easily
Tacit
Reflexive
Awareness
Linearity	
Requires	attention
VISCOSITY
EASE	OF	FLOW	OF	CONCEPTS
Picked	up
Language	is	viscous
erceptual mappings flow easily because perceptual information is tacit and reflexive, we don t have to activity
thin about it to pic it up. o, we can thin about the viscosity, or ease of flow of meaning in our designs, when
we select to deliberately use language and or infuse some of our concepts with perceptual mappings.
here is much more to be said about this lease see https www.slideshare.net m ane h what we mean by meaning new structural properties of
information architecture ias qid c b b f c fded ef d v b from search and https www.slideshare.net m ane h meaning modes in design
fluxible qid cca dd de b b ab a ced v b from search for details and design examples.
Actor	as	Conductor
Aligning
Anticipating
Entraining
Improvising
Finding,	 understanding,	creating	artifacts
Performing	for	a	good	continuation
Performing CONCEPTS
DESIGN
FunctionContent
IA IxD
ID VD
Tolerance	for	ImprecisionPossibility	Space	Dynamics
Viscosity
So, these are some properties we can adjust and dial in for our designs to support actor
as conductor.
Selecting	Action
for	a	good	continuation
HUMAN	BEHAVIOR* Controlling	 Action
physical	relationship	 with	surroundings
Actor-as-Conductor WITH	DESIGN Actor-as-Sculptor
Natural User	Experience
Affordances Perceptual	InformationConcepts
Language
Perceptual	Mappings INFORMATION
Dense	(enough)
Persistent	(enough)
Lawful
Coherent
PROPERTIES
Viscosity
Imprecision	Tolerance
Possibility	Space	Dynamics
PERFORMANCE
Aligning
Anticipating
Entraining
Improvising
Conceptual
Performance
Aligning
Anticipating
Acting
Perceiving
Physical
Performance
*	Reference:	Golonka,	Sabrina	(2015):	Laws	and	conventions	in	language-related	behaviors,	 Ecological	Psychology	27(3)	p.	236-250
et s capture all of this in one slide about natural user experience design. hen the human behavior is about selecting action for a good continuation, when that is done with designed
information, we call that actor as conductor. he performance of actor as conductor is a conceptual performance, maintaining creative tensions between anticipating and aligning with
the possibilities of the performance, and entraining with the system with some improvising possible lately . he information to support actor as conductor is made of concepts both
language and perceptual mappings concepts infused with perceptual qualities . e have several design dials to set for actor as conductor viscosity determine the ind and quality of
attention that suits the situation , imprecision tolerance for entraining with the system, and set the possibility space dynamics to suit the situation. or the other human behavior,
controlling action unfolding over time to maintain a physical relationship with our surroundings, when done with design that is actor as sculptor. his is a physical performance engaged
by a tension between acting and perceiving, and a continuous tension between anticipating what can be done and aligning with what is done as the actor acts. his ta es place by
affordances which are made only of perceptual information. n this case, design properties are laws that must be in place in order to support this behavior the information ma ing up
the affordances must be dense enough , persistent enough , lawful, and coherent with the other inds of information participating in the activity.
Gesture
Touch
Mouse Visualizations
Mechanical	
Vibrations	
SoundsDigital	Agents
Assistive
Technology
Machine
Learning
Simulated	
Objects
Voice	Commands
Text
Mode	switching	across	contexts
o, it s not ust mode switching that we need to thin about
Gesture
Touch
Mouse Visualizations
Mechanical	
Vibrations	
SoundsDigital	Agents
Assistive
Technology
Machine
Learning
Simulated	
Objects
Voice	Commands
Text
Conducting-Sculpting	handoffs
t s handing off between conducting and sculpting within a given activity that we also need to
consider.
Conducting-Sculpting	handoffs
An architect with a building in A software actor as conductor , brings a simplified version of the building into
virtual reality so he can wal around it relying on the way the building ta es up placetime, as he controls his
actions to s etch new towers actor as sculptor , then bring the s etch bac into software to detail and
rationali e it as actor as conductor. hat do we need to do as designers to flow this handoff between
conducting and sculpting and bac again esigned by amuel Arsenault rassard
esigned by amuel Arsenault rassard
Conducting-Sculpting	handoffs
Fusion	360	loft	animated	gif	by	SolidSmack
ven within the same environment, we need to thin about this handoff. n A software, mostly supporting actor as conductor, we
are providing some opportunities to sculpt. n this case, the actor is pulling on the geometry of her design in order to form it with
respect to the rest of the design. his is a very different action than conducting with a property panel and commands that are applied
by selecting. oes it ma e sense to have the same physical mouse supporting this sculpting as conducting o we need to organi e
different interaction modes for conducting vs. sculpting in the same environments
Useful
Clear
Accessible
Usable
GOOD
Resilient
Natural
thin of this as another tool for the tool it for us to use as we wal around our designs,
evaluating what ind of experiences they will facilitate.
Augment	humans	performing	with	design
for	a	good	continuation
Photo	by	permission:	Hugh	Hochman
As we continue to search for ways to augment humans performing with design for a good
continuation. we should noc ourselves out experimenting with the possibilities, with the
underlying mechanics of that.
Designs	have	information	with	the	properties
actors,	as	humans,	are	relying	on	to	behave
Photo	by	permission:	Hugh	Hochman
ic ing up a hologram and deforming it to categori e it spatially an intelligent agent that does
a little haptic bee li e waggle dance on a person s hand to give its status update these things
can come to feel quite natural. As long as our designs have information concepts or
affordances with the properties that actors, as humans, are relying on to behave.
Marsha	Haverty
Thank	you
@mjane_h
UX	WEEK	2017

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