The Occasional Mentor: On Data Science in UX, Content Strategy vs UX Writing and the Durability of Digital Humanities

THE OCCASIONAL MENTOR
A monthly(ish) column based on questions I’ve answered on Quora, heard on Slack groups, and other career advice I’ve given over the prior month. Hope you like it, but feel free to challenge me in the comments, if you have a different experience. Below are questions I answered in June.

How are the user experience design and data science professions connected with each other?

June 6, 2018

According to Wikipedia:

“Data science is an interdisciplinary field that uses scientific methods, processes, algorithms and systems to extract knowledge and insights from data in various forms, both structured and unstructured, similar to data mining.”

A data scientist is a person who is skilled in quantitative research and can formulate a study, analyze the results and create reports to inform other people about the topic of study. They may work with spreadsheets, statistical programs, graphical interfaces, and programming languages like Python, Java, JSON, R, SQL, MATLAB, SAS, C and F#, among others. They may also work with text analysis software, geographic information systems (GIS) and visualization tools like Tableau and Gephi.

UX designers use the results of quantitative research, created by data scientists and UX researchers. The reports help the designers understand user behavior, based on data collected from digital product user logs, web analytics, or quantitative user research tests. These data may describe typical user paths and places where users tend to drop off or bounce away from the app. It could include the results of A/B tests, card sorts, heatmaps, user flow diagrams and demographic and conversion data.

UX designers may also use the output of data studies in the content of the products they are designing for. These studies would be relevant to the subject of the product, not user generated data. For example, an infographic or other visualization that illustrates aspects of the product: weather maps, income disparity charts, election results.

What is the difference between a content strategist and a UX writer?

June 6, 2018

A content strategist creates a plan for all of the company’s reusable content assets. This can include graphics, text, labels, photographs, charts, PDFs, videos, audio files, documentation, directories, etc. The content strategist creates policies and manages the programs that house and govern content. This could include inventory, storage, workflow and governance of content (such as who has access to what type of content, who is responsible for updating or archiving content, who can delete or create new content).

A UX writer prepares written content for use in any number of media, including advertising, apps and websites, video/audio/animation, PR, etc. with a focus on maintaining a consistent user experience across all channels. This can include articles, product descriptions, documentation, headings, headlines, labels, microcopy, essentially anything that needs to be written in words.

Is the digital humanities an enduring movement or a trend?

June 6, 2018

I think it will endure. Academics need to create original research. Digital projects and analysis represents an exciting way to discover new things about subjects that otherwise seem to be studied to death. Applied to art, literature, history and other subjects in the humanities, digital projects open up a whole frontier of analytics and visualization where computational study used to be rare. This can take the form of text analysis, network diagramming, geographic information systems, 3D printing and even the creation of virtual worlds.

Where it can hit a road block is the fact that people who pursue humanities don’t often have the skills or competence required to utilize computational tools in their research. This isn’t their fault, it just happens to be rare in humanities curricula. That is why many universities are investing in developing IT and library staff who have these skills.

Ultimately, schools will include more and more digital studies electives in humanities programs. So like art and art history programs now may include chemistry and material science in units on art preservation, and English departments will have more an more computer scientists on hand to help with digital humanities projects.

Driving the Dome

For eight weeks every Wednesday, Brett and I snuck away under darkness and rain to the American Museum of Natural History’s Hayden Planetarium to learn how to make a star show. We learned the ins and outs of the planetarium’s computer controls and presented shows for our family and friends on March 30th in the dome. A fellow classmate called it “playing with the biggest toy in New York City.”

Noreen and the Cassini-Huygens Mission to Saturn
Showing the Cassini-Huygens Mission to Saturn

Brett and the Earth's Magnetosphere
Brett and the Earth’s Magnetosphere



The program, Adult Digital Flight School, is a grown up version of a class that the museum’s education department created for school age children. The software, called Uniview Digital Universe, lets you display objects from moons and satellites to planets and galaxies to the large structure of the universe. It also has time and motion controls that allows the user to fly to selected objects and simulate the motion of the objects in space. You can examine the moon as it passes in front of the sun for a solar eclipse or watch the Cassini satellite make its initial 2004 approach of Saturn and then turn up the speed of time and watch ten years of the satellite’s orbits go by in seconds. It’s dizzying and took a lot of patience (and a little Dramamine) to feel in control of the “flight.”

The class structure included time in the classroom developing a program and time in the dome to test out the feel of the controls as your show is projected to the dome. And of course a lot of time at home researching our topic and writing our scripts. Each student selected very different study subjects. My topic as you may have guessed was the Cassini-Huygens mission to Saturn. Brett studied aurora activity on the Earth and other planets in our solar system and the effect of the magnetosphere and nearby moons on auroras. We learned from our classmates about stellar distances, constellations, near Earth object collision risk, moon tides and life on the International Space Station. We also found out where the Borg live. [Spoiler Alert] Apparently, the S.S. Enterprise could only have traveled within the Milky Way Galaxy. Warp 8 just doesn’t get you very far.

Hayden_PlanetariumAMNH has a public version of the Uniview software that you can download from the Hayden Planetarium website. It was great fun and highly recommended if you ever get the urge to drive the dome.

If you would like to download the script from my exploration of the Cassini-Huygens mission, be my guest.

Update 06/09/2017: The Best of Cassini: 13 Years in Orbit Around Saturn, By Alan Taylor, The Atlantic, June 7, 2017.

Towards a 9/11 GeoArchive

Imagine if the most graphic and expressive artifacts from one of the most historic events in New York City lay rolled in tubes in a dusty corner. What if millions of bytes of geographic data, produced through an unprecedented, community collaboration, were dispersed, disconnected and hidden from public view? If you had the opportunity to preserve them, how would you do it?

During the September 11, 2001 rescue and recovery operations, I volunteered to help recruit geographers through a NYC-based GIS user group, called GISMO. The need was critical and overwhelming. The Mayor’s Office of Emergency Management had been evacuated and no longer had access to maps and data necessary for the rescue effort, and if that wasn’t bad enough, they lacked the number of skilled hands to produce the hundreds of maps per day required by the unprecedented event. At this point, GISMO had been working for years to advocate for data sharing and cooperation among city, state, non-profit and private entities, and developed into a 400 strong social network. Hundreds of volunteers, many from GISMO, stepped forward. This effort served as a highly regarded, if anomalous, model for unified response in years to come. But the artifacts from this effort have not been preserved in any curatorial sense. I’d like to change that.

I recently participated in the NYC GeoSymposium 2001-2011-2021, which took a look at the advances and challenges of Geographic Information Systems in emergency response since 2001. Around this time I had been thinking very hard about my career goals and ways to combine my past experience in research and design with the grassroots efforts of the geographic community. I had been working with colleagues at GISMO for many years to draw attention to the important role geographers played in the 9/11 rescue and recovery. The GeoSymposium was a great experience, because it intended not just to honor those who participated in these efforts, but also to highlight the need to preserve the thousands of maps that tell the story.

My own contribution to the GeoSymposium was to explore the legacy of these efforts by examining the technological improvements at the Office of Emergency Management in the context of emergency events that had occurred since 2001. I was looking for a way to present time-based information in a map format and also to start a conversation with attendees about the history of emergency response technology and the importance of the preservation of geographic artifacts. My project contained a map of New York City with events plotted and color-coded by discrete periods, characterized by a common group of new technologies. An online version of the map is available at ArgGIS Explorer Online.

OEM-Incidents-interactive-map

View Interactive Map

OEM Incident Map – Poster

OEM-Incidents-screenshotView Detail Slides (Requires Microsoft Silverlight)

The map highlights how the events surrounding 9/11 prompted improvements in incident management technology. Attendees, including the keynote presenter and eminent information designer, Edward Tufte, gathered around to discuss their experience with the events I had mapped and to offer advice on ways to enrich its design. (Some of Mr. Tufte’s comments led to further improvements which you can see via the links above.)

Simply talking about how to improve the map was an exercise in exploring history and memory: how people understand what happened, how events are related to one another, how what you choose to include and what not to include can influence a person’s understanding of the events, how the description of one event can bring to mind another similar one, etc. It was thrilling to observe the spontaneous conversation that started all because of a three by four foot piece of foamboard.

And that’s just one artifact. In the aftermath of 9/11, hundreds of maps were produced – Every Day – for months. The 9/11 geographic effort represented a level of cooperation not seen before or since, but whose legacy, coupled with improvements in technology platforms themselves, informs the open data initiatives we are now seeing throughout the U.S.

Of course, the artifacts of the 9/11 response have historical value by themselves. And that is where the images of dusty, neglected rolls of paper come in (even though most of the maps are on disks and hard drives). Several of my GISMO colleagues and I are exploring a plan to create a 9/11 Geographic Archive, featuring the maps that were produced during the rescue and recovery effort. I plan to present an outline of the 9/11 Geographic Archive and my map of emergency response technologies at the ASIS&T Information Architecture Summit in March 2012. Such an archive would be an important contribution to the history of emergency response in this country.

I have always loved presenting information in meaningful and digestible ways, whether through maps, market research reports, drawings, websites or online resource libraries and intranets. From very early in my career, I have been driven to present information in a coherent way and to seek out tools and processes that make coming to understanding easier. I am thrilled by the convergence that today’s state of technology allows between geographic tools and the digital storytelling of the user experience discipline. What is really great about this project is that I will be able to combine aspects of two fields that I love into an end product that would have meaning for many now and in years to come.

So, if you had the opportunity to preserve artifacts from an important event in New York City history, how would you do it? Some of the groundwork has already begun. I have been working with a mentor to explore relationships with organizations that support technology projects in the digital humanities, and with museums and libraries that share an interest in geographic artifacts and 9/11. I am building on my relationships with the City’s amazing geographic community through GISMO, the thirty Geosymposium presenters who told the 9/11 story and senior staff at the Office of Emergency Management and other consultants who have expressed interest in an archive. (I have even applied to an information science program where I hope to explore this project further). Finally and perhaps most importantly, I have the support of members of the GISMO Steering Committee to pursue further resources and trainings to develop the framework for an archive entity. With that grounding, I can turn the question “How would you do it?” into “When can I start?”

NY Times: Japan Interactive Earthquake Map

The New York Times’ Interactive Map of the Damage from the Earthquake in Japan:

http://www.nytimes.com/packages/flash/newsgraphics/2011/0311-japan-earthquake-map/index.html?hp

I was able to locate the town where my friend Pia’s brother is teaching English (center of quake zone but far from the nuclear plants, very little structural damage, no casualties) and where my daughter’s camp friend’s family lives (quite a bit south of Tokyo, out of quake zone).

Coincidentally enough, Brett and I were attending a New York Red Cross breakfast the morning the tsunami was announced, and while the content of the morning’s presentation was focused on what the Red Cross does for New Yorkers, it certainly added some urgency to the obligatory donation appeal at the end of the breakfast. (Brett is a volunteer photographer for the Red Cross and my friend Sonia’s husband, Nick Malik, sits on the NYC board).

On a cheerier note, a friend pointed me to this T-shirt on Treadless.com combining Eisenlohr’s projection with an image of a radio broadcast signal. This is an entry for Oceanic Preservation Society T-shirt Challenge. Theme: Singing Planet. Really neat design.

http://atrium.threadless.com/singingplanet/submission/1009/