Grande Buarque

DECLARACIONES DE CHICO BUARQUE.
MINISTRO DE EDUCACIÓN DE BRASIL.

No todos los días un brasileño les da una buena y
educadísima bofetada a los estadounidenses.

Durante un debate en una universidad de Estados Unidos, le
preguntaron al ex gobernador del Distrito Federal y actual
Ministro de Educación de Brasil, CRISTOVÃO CHICO
BUARQUE, qué pensaba sobre la internacionalización de la
Amazonia. Un estadounidense en las Naciones Unidas introdujo
su pregunta, diciendo que esperaba la respuesta de un
humanista y no de un brasileño.

Ésta fue la respuesta del Sr. Cristóvão Buarque:

Realmente, como brasileño, sólo hablaría en contra
de la internacionalización de la Amazonia. Por más que
nuestros gobiernos no cuiden debidamente ese patrimonio,
él es nuestro.

Como humanista, sintiendo el riesgo de la degradación
ambiental que sufre la Amazonia, puedo imaginar su
internacionalización, como también de todo lo demás, que
es de suma importancia para la humanidad.

Si la Amazonia, desde una ética humanista, debe ser
internacionalizada, internacionalicemos también las
reservas de petróleo del mundo entero.

El petróleo es tan importante para el bienestar de la
humanidad como la Amazonia para nuestro futuro. A pesar de
eso, los dueños de las reservas creen tener el derecho de
aumentar o disminuir la extracción de petróleo y subir o no su precio.

De la misma forma, el capital financiero de los países
ricos debería ser internacionalizado. Si la Amazonia es una
reserva para todos los seres humanos, no se debería quemar
solamente por la voluntad de un dueño o de un país. Quemar
la Amazonia es tan grave como el desempleo provocado por las
decisiones arbitrarias de los especuladores globales.

No podemos permitir que las reservas financieras sirvan para
quemar países enteros en la voluptuosidad de la especulación.

También, antes que la Amazonia, me gustaría ver la
internacionalización de los grandes museos del mundo.
El Louvre no debe pertenecer solo a Francia.
Cada museo del mundo es el guardián de las piezas más bellas producidas
por el genio humano. No se puede dejar que ese patrimonio
cultural, como es el patrimonio natural amazónico, sea
manipulado y destruido por el sólo placer de un propietario o de un país.

No hace mucho tiempo, un millonario japonés decidió
enterrar, junto con él, un cuadro de un gran maestro.
Por el contrario, ese cuadro tendría que haber sido
internacionalizado.

Durante este encuentro, las Naciones Unidas están
realizando el Foro Del Milenio, pero algunos presidentes de
países tuvieron dificultades para participar, debido a
situaciones desagradables surgidas en la frontera de los
EE.UU. Por eso, creo que Nueva York, como sede de las
Naciones Unidas, debe ser internacionalizada. Por lo menos
Manhatan debería pertenecer a toda la humanidad.
De la misma forma que París, Venecia, Roma, Londres, Río de
Janeiro, Brasilia... cada ciudad, con su belleza
específica, su historia del mundo, debería pertenecer al mundo entero.

Si EEUU quiere internacionalizar la Amazonia, para no
correr el riesgo de dejarla en manos de los
brasileños,internacionalicemos todos los arsenales
nucleares. Basta pensar que ellos ya demostraron que son
capaces de usar esas armas, provocando una destrucción
miles de veces mayor que las lamentables quemas realizadas
en los bosques de Brasil.

En sus discursos, los actuales candidatos a la presidencia
de los Estados Unidos han defendido la idea de
internacionalizar las reservas forestales del mundo a cambio de la deuda.

Comencemos usando esa deuda para garantizar que cada niño
del mundo tenga la posibilidad de comer y de ir a la
escuela. Internacionalicemos a los niños, tratándolos a
todos ellos sin importar el país donde nacieron, como
patrimonio que merecen los cuidados del mundo entero. Mucho
más de lo que se merece la Amazonia. Cuando los dirigentes
traten a los niños pobres del mundo como Patrimonio de la
Humanidad, no permitirán que trabajen cuando deberían
estudiar; que mueran cuando deberían vivir.

Como humanista, acepto defender la internacionalización
del mundo; pero, mientras el mundo me trate como brasileño,
lucharé para que la Amazonia, sea nuestra. ¡Solamente
nuestra!

OBSERVACIÓN: Este artículo fue publicado en el NEW YORK
TIMES, WASHINGTON POST, USA TODAY y en los mayores diarios de EUROPA y JAPÓN.

Generator.x » Jonathan McCabe

Jonathan McCabe: The Origami Butterfly Method

Jonathan McCabe: The Origami Butterfly Method

Last week I opened an exhibition by Canberra artist Jonathan McCabe – The Origami Butterfly Method. The show presents a family of images made with a supremely elegant – and as far as I know original – generative technique. The Method goes something like this. Imagine a square sheet of paper, and mark a dot somewhere on it and record its position. Fold the paper along a random axis, and watch where the dot ends up, recording this position. Repeat this thirty-two times. Use a weighted average of that list of points to determine the colour (or at least hue and brightness) of that original point. Now repeat, using the same folds, for as many points on the square as you like (say, several million). What I love about this is that despite the intensely tactile quality of the surfaces, these images have no “thing” to them: they’re visualisations of transformations of space – traces of topological history. This generative technique has lots of neat features. It’s resolution-independent (you can sample as many points as you like), the procedure is simple and compact (32 folds) and because it’s a sequence, it’s richly connected with image structure: the first fold is the most significant in controlling macro-structure, and the last fold influences the smallest level of detail. McCabe uses genetic algorithms to search and “optimise” the space of possible fold sequences / images. Oh and also, he’s making animations out of them. In this exhibition McCabe printed high-res images onto 72cm square canvases, in (very affordable) editions of one. More than half this show at The Front gallery, Lyneham, sold on the opening night.

McCabe isn’t plugged in to the generative arts scene – I had to ask him to make this site so I could write this post. Maybe that’s part of the reason his work seems so fresh – he’s been refining these techniques by himself for quite a while. After seeing this show I think the work could do with some attention: it’s got “retinality” to burn but underneath that is a generative technique that is poetic in itself.

+del.icio.us | +digg

mitchell on Thursday, April 13th, 2006 at 03:04. Filed under Generative art, People & places. You can leave a response, or trackback from your own site.
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9 Responses to “Jonathan McCabe”
1. We need money not art, April 16th, 2006 at 07:04

Jonathan McCabe

Jonathan McCabe: The Origami Butterfly Method最近,我为堪培拉艺术家Jonathan McCabe办了个展览——折纸手工蝴蝶法。展览带出一系列优雅无比的图像,而且,就我所见,这是不折不扣的原创衍生技术。…

2. Stephen Steward, October 14th, 2006 at 22:10

http://forums.winamp.com/showthread.php?s=f2433a3fa233493f89bd68f4ba351f2b&threadid=257473

it kinda sorta has been done using Winamp AVS, but McCabe is certainly taking it a few steps further.

3. NO ONE RECEIVING » some things that inspired me in 2006, part one, December 14th, 2006 at 23:12

[...] I encountered Jonathan McCabe while reading the great computational art blog dataisnature. He’s a visual artist in Australia who specializes in algorithmic and generative approaches to the visualization of data. He was kind enough to send me DVDs of two of his pieces, “Nervous States” and “The Origami Butterfly Method.” I’m lucky that I was able to view them before the DVD drive on my laptop kicked it. They’re unearthly, fluid, organic, and definitely psychedelic constructions that seem to follow a kind of alien logic all their own. The “Nervous States” piece visualizes the output of a neural network, and the “Butterfly Method” uses a simple, iterative fold-and-copy process (described at generatorx) to create a trippily reflective image evoking butterfly wings. [...]

4. softexpose.com » Blog Archive » Generative Art is Child’s Play (and vice versa), August 29th, 2007 at 13:08

[...] There’s a whole battery of these techniques, all generative in similar ways. They all give back more (in a way) than the artist puts in, by setting up physical and formal constraints. The window technique literally transforms – folds and multiplies – the mapping between input and output. The marble technique also transforms the input/output map, but adds the physical dynamics of marbles and paint. As the image above shows, we get all kinds of nice stuff “for free” from this system: collisions, momentum, adhesion; the marbles trace distinct patterns as they rotate, and the rotating patterns change as the paint sheds. Just like a multi-agent Processing drawing machine, but gooier, and with more complex physics. For the digital hyperspace version of the folded window technique, see Jonathan McCabe’s butterfly origami, previously blogged on generator.x. [...]

5. softexpose.com » Blog Archive » Jonathan McCabe - Nervous States, August 29th, 2007 at 13:08

[...] Canberra artist Jonathan McCabe is currently showing some digital prints at the Front gallery in Lyneham – the show is called Nervous States, ostensibly referring to the neural net behind the generative process… but it seems to have much wider implications just at the moment, too. I wrote about McCabe’s Butterfly Origami Method on generator.x a while ago, and was impressed by the elegance of the generative mechanism and the visual richness of the results. Nervous States is just as elegant, and visually psychedelic, but uses a completely different generative approach. [...]

6. softexpose.com » Blog Archive » Jonathan McCabe - Very Cellular Automata, August 29th, 2007 at 13:08

[...] A new year, and another exhibition from Jonathan McCabe at Canberra gallery/cafe The Front. The show, Travelling Wave, was shared with painter Luke Nilsen; it included some collaborative canvases, with Nilsen painting over McCabe’s digital patterns, and new works from McCabe’s Butterfly Origami and Nervous States processes. But also on the (very crowded) walls were images from a new McCabe process, based on cellular automata. In themselves the images are chunks of psychedelic maximalism, similar to McCabe’s earlier work. But once again the real hook here is the mind bending and unusually rich generative process. [...]

7. Monica, September 14th, 2007 at 00:09

maybe this video its not origami but its creative too:

8. Cool Butterfly Lover, January 9th, 2008 at 02:01

Awesome work, I never knew this was possible. Origami is an art form that I would like to explore, and this is inspiring.

9. Art from Code | Generator.x « Leituras, um processo…, November 7th, 2009 at 23:11

[...] das exposições mais conhecidas de McCabe é The Origami Butterfly Method, na qual são apresentadas imagens elaboradas através de técnicas [...]

A very nice explanation of something hard to do with code. Exquisite work of art by Jonathan McCabe. Really inspiring.

NodeBox | Home

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  • 1.8.5 - Stop running scripts by hitting command-dot.
  • 1.8.5 - Fast, integrated path mathematics.

 

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Studying at the Experimental Media Group: graduate students with an interest in computer graphics are welcome to come and stay with the NodeBox development team for a while.

Perception: a new web application for NodeBox to play with. It allows concepts to be related to each other in a semantic network of common sense.

NodeBox Workshop: take a look at the results of the NodeBox january 2009 workshop in Lahti (Lahti University of Applied Sciences, Institute of Design, Finland).

 

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IWT Gravital: a NodeBox spin-off that links language to AI to design. Like NodeBox, you will be able to create visuals using simple Python code, but also using natural language (e.g. plain English) or a slick node-based interface.

VAF Creatures: an experimental project bordering between art and gaming. Insects will swarm around, plants will grow, life will virally adapt. As a player it will be your goal to keep life in balance.

IBBTDark Matter: a collaborative project which goal is to develop an experimental, immersive internet visualizer. It'll look a bit like the movie Minority Report.

 

Gallery favorites

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Lessons taught; Lessons learnt » Blog Archive » The Joy of Hex

The Joy of Hex

(Update: This post is featured in the 39th Carnival of Mathematics. Check it out!)

Last summer I developed a bit of an obsession with hexagons. More specifically, with the patterns you can produce from tiling multiple copies of a single, simply decorated hexagonal tile:

I cut out and laminated around 100 of these tiles, and spent several happy hours moving them around into new patterns, trying different types of symmetry, and experimenting with different layouts.

If you’d like to follow me down a similar path, here’s a sheet with six of these hexagon tiles to print and cut out: hexagon-tiles-122.pdf (svg source), made using the free vector drawing program Inkscape.

Background

Although I wasn’t aware of precursors at the time, I later found this shape in several places: it is one of the tiling generators you can buy from the ATM, and it’s one of the tile shapes in the game of Tantrix. I recommend you browse the ATM’s store if you are a maths teacher — many excellent things await!

I also recall reading a very interesting web page which found this exact pattern being used as a paving slab in Spain, and developed quite an in depth mathematical discussion, but sadly this page now seems to have disappeared into the æther.

Although less common than they used to be, hexagons were often used for tiling and paving. I particularly like this hexagon paving tile designed by Gaudi, and used all over Barcelona.

Returning to the particular hexagon above, we get the following when we tile it:

The fun comes when you rotate some of the hexagons. Even with just six patterned hexagons you can find a range of different interesting patterns… but it’s much more fun to explore with a large pile of them!

In My Classroom

At the start of last year, the tiles appeared on my classroom walls in the place now occupied by the Pascal’s Triangle wall display. As with Pascal’s Triangle, the tiling wasn’t static, but slowly changed form and shape over time, and several interesting questions were raised by some of my groups (several of which couldn’t believe at first that all the different patterns were generated by a single type of tile).

Eventually the hexagons migrated over to the other side of the classroom, and took the form revealed in the very first post I made on this site:

Read more for: more examples of patterns you can produce from these tiles; some questions for you to explore; my thoughts on the mathematical content of this ‘pattern space’; and source files for all the diagrams.

I suggest you pause here, print out the hexagons, and have a play before continuing.

Some Patterns

Here are eight patterns made with the hexagon tile, on a 6-by-6 grid:

(click on the images for a better view). These by no means exhaust the patterns you can generate with this tile.

Questions Raised by the Patterns

I believe that these tilings form a rich and non-trivial environment for pattern spotting, and the generation of mathematical questions and conjectures in the classroom. Here, for example, are some questions which occurred to me as I was exploring the ‘pattern space’:

  • Several of these patterns have rotational symmetry of order three. What other rotational or reflectional symmetries are possible? What about if we allow ‘holes’ (i.e. we don’t have to place hexagons in every grid position)?
  • The last of the 6-by-6 patterns demonstrates glide reflection. There are seven possible frieze patterns; can we generate examples of all of them?
  • Various motifs recur in different patterns: a small circle using three hexagons; an oval using four hexagons; several braids; a large circle and a trefoil using six hexagons. What other closed loops can we make using only a small number of tiles? Also, are there any forbidden lengths, with no examples of loops of that size?
  • Fix a small grid size (for example, a 2-by-3 rectangle). How many distinct patterns can we make?
    The meaning of ‘distinct’ here is something that would need to be negotiated with the students. If we take a pattern and rotate or reflect it, should we count that as a new pattern?

I think all these questions could be generated, explored, and altered quite productively by students at a range of levels. They also give students an opportunity to demonstrate several key reasoning skills, such as systematic exhaustion: how can we be sure that we’ve found all the possible patterns of a given grid size, or loops of a given length?

Complexity

In some sense, all the questions in the previous section were combinatorial. We had to count the number of ways that something happened, or generate examples.

Here’s a deceptively simple question which leads into an investigation of another sort:

Which of the patterns above is the most complex?

We might perhaps say that simplest patterns are those which we can describe in the shortest amount of space. The very first pattern, for example, could be described by saying ‘all the tiles are this way up’. How could we describe how to generate some of the other patterns?

Given this view of complexity, what do complex patterns look like?

What do simple patterns look like?

This seemingly naive and simple view of complexity, when formalised, leads to algorithmic information theory, and in particular to the concept of Kolmogorov complexity. This also has connections to an immense body of work in computer science, including compression algorithms.

Transformations

Moving away from complexity, let’s now consider what happens when we start with a pattern, and want to alter (transform) it in some way.

It is obvious that we can transform one pattern into any other pattern by rotating each tile in turn — but what happens when we impose constraints on the ‘moves’ we are allowed to make? For example, suppose we had a rectangular grid of tiles, and were only allowed to rotate the tiles a row/column at a time.

Starting from the basic pattern we saw right at the start:

we could rotate the second ‘column’ one step anticlockwise:

and then the third row:

and then the fourth column:

and then the second row:

Could we generate every possible pattern this way?

This is an interesting question, but probably a little difficult to approach at the secondary school level. So, let’s be even more restrictive:

Suppose we rotate all the tiles at the same time. What happens?

To be more specific, let’s start with this pattern:

What do we get if we rotate all the tiles one ’step’ clockwise?

Now is an excellent time to print out some hexagons and find out!

What about if we rotate again? And again?

What happens with different starting patterns?

What is preserved by this transformation, and what is not? If one pattern repeats every three hexagons for example, then the other one will as well. But what about symmetry? What about the ‘loops’ formed by the lines?

Notice that we are exploring, in an accessible way, several advanced concepts: applying a transformation to something; preservation of features; iteration of transformations among others.

Where’s The Maths?

Usually, in school mathematics, we only consider functions which transform numbers into other numbers — even transformations such as rotation, reflection and enlargement are almost never talked about as functions which can be combined, or reversed, or iterated. This naturally makes it harder for students to ’see the maths’ in situations which don’t directly involve numbers.

One way to help students to become comfortable with these ‘non-traditional’ areas could be to improve the emphasis, throughout their school careers, on key concepts and questions, like iteration (what happens if we do something many times?), inversion (how do we undo what we just did?) and iso- & homo-morphism (what has changed, and what has stayed the same?). These are applicable at all levels of mathematics:

What happens if we add the same number lots of times?

How do I undo a multiplication?

What properties of my triangle stay the same when I enlarge it?

What happens when I differentiate a polynomial lots of times?

How do I undo exponentiation?

What properties of number stay the same if we allow the square root of -1 to be a number, and which have to change?

The same types of question recur throughout the mathematical development of a pupil.

Conclusion

Even something as simple as a hexagonal tile can lead to some really deep mathematical questions, and thinking about them can develop skills which are applicable in many more traditional areas of mathematics.

It also lets you use the pun in the title — and we don’t get the opportunity for puns often in maths!

[As promised, here are the source files for many of the above diagrams.]

Related Posts (automatically generated)

  1. A Hall of Hexagons
  2. Taught: A Pascal’s Triangle wall-display
  3. Visualisation: Rotating polygons

Tags: , , , , , ,

Lessons Taught, Maths, Resources, The Classroom Comments 14 Aug 21st, 2008

14 Responses to “The Joy of Hex”

  1. It’s the Thought that Counts » Blog Archive » Carnival of Mathematics #39 Says:
    August 22nd, 2008 at 5:06 pm

    [...] pretty pictures available at Jon Ingram’s blog, Lessons Taught, Lessons Learned. In “The Joy of Hex,” Jon shows lots of tilings using rotations of a single hexagonal shape, and poses some [...]

  2. sam shah Says:
    August 25th, 2008 at 6:14 pm

    I can’t handle how cool this is. Cool to the millionth degree. I’m totally printing these out and playing around with them. 

  3. Jon Ingram Says:
    August 26th, 2008 at 8:46 am

    It’s great to hear about a convert to hexagons! Be careful though — they can end up eating up a lot of your time.

  4. Constanze Says:
    August 30th, 2008 at 4:51 pm

    I’m currently trying to figure out how to transform these tilings into either an all-over quilting pattern or a quilt design. There’s some great potential here!
    My additional question of choice: How many different ways are there to connect the midpoints of the six sides of a hexagon with each other so that exactly one line starts from each midpoint?

  5. Jon Ingram Says:
    September 5th, 2008 at 7:23 pm

    I’ve been asked to add some outline versions of the hexagon tile (no black background):

    http://joningram.org/blog/wp-content/uploads/2008/09/hexagon-tiles-122-outline.svg

    http://joningram.org/blog/wp-content/uploads/2008/09/hexagon-tiles-122-outline.pdf

  6. Hexagons for Quilters « textile dreams - fibery wake up Says:
    September 20th, 2008 at 6:52 pm

    [...] September 20, 2008 at 6:52 pm | In Patchwork, quilt | Tags: quilt design Jon Ingram wrote an interesting post on his blog on using a simple hexagonal shape to study different tiling patterns. The results of [...]

  7. Maths: The Final Frontier » Blog Archive » The Joy of Hex: A Hall of Hexagons Says:
    February 20th, 2009 at 8:05 pm

    [...] in August, in The Joy of Hex, I described my experiments (teaching and non-teaching) with a texagonal tiling pattern [...]

  8. Jon Ingram Says:
    February 21st, 2009 at 3:42 am

    very cool, I stumbled  upon your very interesting page while searching for my own blog on google. Keep up the good teaching!

  9. Jon Ingram Says:
    February 21st, 2009 at 1:21 pm

    It’s good to know there are more Jon Ingrams out there — the more the merrier!

  10. Mariposa Says:
    August 4th, 2009 at 6:17 pm

    I found your page by clicking a link in a blog post on http://textiledreamer.wordpress.com/

    This is a very inspirational page to me. You have reawaken the Math geek in me and I hope to apply your lesson to a future quilt. Thank you so much for sharing!

  11. Dora Says:
    August 9th, 2009 at 9:16 pm

    I came across this page while I was looking for a hexagonal design/tiling pattern to recreate using polymer clay. This pattern is fantastic, and there are so many ways to combine it, which makes it perfect for the technique I will be using, which is known as ‘canework’ or ‘millefiori’. I hope it is OK if I use this pattern in my polymer clay tutorial blog (Dora’s Explorations; dorasexplorations.wordpress.com My last cane design, BTW, was based on Bahaskara’s Behold!, so it appears that math and canework are very compatible.

  12. Jon Ingram Says:
    August 10th, 2009 at 7:25 am

    I’m really happy to see this pattern used in different contexts. Make sure to send me a link to the finished project — I’d love to see what you do with it!

  13. Cane of the Week, Part I (I Should’ve Known Better !) « Dora’s Explorations Says:
    August 16th, 2009 at 6:58 pm

    [...] clicking on any link that looked interesting.  One of my clicks brought me here:  http://joningram.org/blog/2008/08/the-joy-of-hex/.  It was a page from the blog of Jon Ingram, a teacher of mathematics in the UK.   His post [...]

  14. Cane for the Week of 8/16/09, Part II (Finally!) « Dora’s Explorations Says:
    August 25th, 2009 at 9:02 pm

    [...]      Well, it appears that I have figured out how to make a decent “Joy of Hex” cane at last. It is not perfectly executed, but it is good enough for me to post here. [...]

Leave a Reply

Don Norman's jnd.org / Technology First, Needs Last

Technology First, Needs Last

"Necessity is often not the mother of invention. In many cases, it surely has been just the opposite. When humans possess a tool, they excel at finding new uses for it. The tool often exists before the problem to be solved." Nye, D. E. (2006).

I've come to a disconcerting conclusion: design research is great when it comes to improving existing product categories but essentially useless when it comes to new, innovative breakthroughs. I reached this conclusion through examination of a range of product innovations, most especially looking at those major conceptual breakthroughs that have had huge impact upon society as well as the more common, mundane small, continual improvements. Call one conceptual breakthrough, the other incremental. Although we would prefer to believe that conceptual breakthroughs occur because of a detailed consideration of human needs, especially fundamental but unspoken hidden needs so beloved by the design research community, the fact is that it simply doesn't happen.

New conceptual breakthroughs are invariably driven by the development of new technologies The new technologies, in turn, inspire technologists to invent things, not sometimes because they themselves dream of having their capabilities, but many times simply because they can build them. In other words, grand conceptual inventions happen because technology has finally made them possible. Do people need them? That question is answered over the next several decades as the technology moves from technical demonstration, to product, to failure, or perhaps to slow acceptance in the commercial world where slowly, after considerable time, the products and applications are jointly evolve, and slowly the need develops.

Are flush toilets, indoor plumbing, electric lighting, automobiles, airplanes, or modern telecommunication essential needs? Civilization got along quite well without them for thousands of years. Today, many consider them not just needs but essentials. And every one of these was driven by technology.

Revolutionary innovation is what design companies prefer, what design contests reinforce, and what most consultants love to preach. But if you examine the business impact of innovation, you will soon discover that the most frequent gains come from the small, incremental innovations, changes that lower costs, add some simple features, and smooth out the rough edges of a product. Most innovations are small, relatively simple, and fit comfortably into the established rhythm and competencies of the existing product delivery cycle.

Successful revolutionary innovation is rare. In any given arena, it happens only a few times per decade. Why? In part because it is difficult to invent a new concept that truly fits people's lives and needs. In part, it is because existing products already satisfy most people and when the new concepts appear, the older, existing technologies have a remarkable way of rising to the challenge and sustaining themselves for years - decades even - long after people thought they would disappear. How long did it take the train to overtake the canal as a means of shipping goods? How long did it take the automobile to overtake the horse and carriage as a means of transportation? Think decades. Even simple innovations take decades to gain market acceptance. The path of diffusion of innovation has been well studied, well documented. Most radical innovations fail. Those that succeed can take decades before they are successful.

The grand, breakthrough innovation is what professors love to teach their students, love to write about, and to discuss. But not only is it rare, even the occasional brilliant concepts are difficult to pull off. Yes, it is exciting to contemplate some brand new concept that will change people's lives, but the truth is that most fail. The failure rate has been estimated to be between 90 and 95%, and I have heard credible, data-based estimates as high as a 97% failure rate.

In reality, innovation comes in many shapes and forms. Most new product development is innovative, but at a very tiny, incremental level. Costs are trimmed. Manufacturing and distribution efficiencies are introduced. Costly features of little use are removed, new features thought to enhance competitive value are introduced. Simple, small, yet very important in the life cycle of a product.

Myth: Use ethnographic observational studies to discover hidden, unmet needs

To achieve major conceptual breakthroughs, we should do ethnographic field study to understand the hidden unmet needs of our potential customers. Right or wrong?

It all sounds logical: study people. Discover hidden, unmet needs. Fulfill those needs, and leap ahead of the competition, producing yet another wondrous advance. This is the mantra of the design research community. The research community does a wonderful service. It investigates the way people live. It makes voyeurs of all of us, and the results of their studies provide important titillations to our understanding of human behavior. And it's fun to do: you get to go to exotic locations, to watch people do intimate acts, and then to come back and tell the world what you have seen, carefully disguising the identity of the "informants." Oh yes, I know it can also be dull and dreary, exhausting and depressing, and sometimes even dangerous: but even these aspects can serve to embellish the final story.

But the real question is how much all this helps products? Very little. In fact, let me try to be even more provocative: although the deep and rich study of people's lives is useful for incremental innovation, history shows that this is not how the brilliant, earth-shattering, revolutionary innovations come about.

Major innovation comes from technologists who have little understanding of all this research stuff: they invent because they are inventors. They create for the same reason that people climb mountains: to demonstrate that they can do so. Most of these inventions fail, but the ones that succeed change our lives.

Take a look at the powerful inventions that have changed society and ask what role design research played:

  • The Airplane
  • The Automobile
  • The Telephone
  • The Radio
  • The Television
  • The Computer
  • The Personal Computer
  • The Internet
  • SMS Text Messaging
  • The Cellphone

What role did design research play? What role did marketing research play? No role. All were driven by technology. In his recent study of technology, the economist Brian Arthur reached a very similar conclusion: technologies evolve from earlier technologies, driven by science, driven by engineering, driven by tinkerers of all sorts. Needs follow so slowly, that Arthur does not even cover them.

Consider the cycle. First comes a new technology. Perhaps it is a new idea or perhaps an old idea that has finally reached a commercially viable state where inventors can consider it. Note that the time here varies. Edison launched his first phonograph company within months of his invention: he never questioned the need. He had invented the paperless office, he announced, and launched his product. The notion that the phonograph was better suited for playing back pre-recorded music came much later, and from Emile Berliner, a competitor (whose company morphed into RCA Victor and succeeded whereas Edison's several attempts all failed). Technology first: needs last. Multiple-touch interaction with displays took roughly two decades to move from the research laboratory to its appearance in everyday products, and even so, it is not yet common outside of a few limited product categories.

New ideas face two different kinds of hurdles. The first is in the company. Brand new ideas are strange and foreign. If developed within a company, they often do not fit. They compete for scarce resources with other, proven products. New ideas have to fit into the competencies of a company, they have to fit the product schedule, the manufacturing, marketing, and distribution chains. Any new idea that goes outside of the norm has introduced more barriers to success: the innovator's job is not over until all these other barriers have been taken account of, so that the entire system will work smoothly. Innovation is a systems issue; it is not about product or process: it is about the entire system.

The second hurdle is outside the company. If the idea is done outside of a company, then the same hurdles exist in trying to convince people to fund the development. It is risky, unknown, untested. Why should anyone invest? Especially when the data show that most such investments fail. The history of innovation is filled with the stories of those grand inventors who persisted in the face of severe doubt and near financial ruin before they finally succeeded: The xerographic copier, early automobile companies, the development of television, and then color television. The videophone. For that matter, history would be filled with the even greater story of all those who followed similar paths but had to give up for lack of finances: they didn't make it to the history books.

A revolutionary product is fraught with peril: it may not fit people's life or work styles. It probably is too expensive, too limited in power, at least in its initial instantiation. Within an established company, it probably is disruptive of the orderly method of product development, manufacture, and development. It causes strains within the organization.

When I was at Apple, I watched many innovative products fail. Badly done? No, simply ahead of their time. For example, from 1992 to 1994 Apple developed one of the first commercial digital cameras, the Apple QuickTake 100, one of the very first smart pen-based computers (the Newton), and innovative software applications (e.g., CyberDog, Activity Based Computing, OpenDoc). In my consulting practice I helped develop the first digital picture frame and an extremely high quality distance education system for MBA courses. All failed. Were they bad ideas? No. Were they badly implemented? No. All were excellent concepts: they were ahead of their time. The first company to make automobiles in the United States failed. The first commercially sold computer that used a graphical user interface and that helped develop many of the ideas now central to today's world of computing, the Xerox Star, failed. The second commercial attempt to use a similar philosophy, the Apple Lisa, failed. The third attempt, the Apple Macintosh, almost failed, saved only by the fortuitous arrival of Adobe's development of Postscript and Canon's introduction of low-cost laser printing.

Why did the Macintosh almost fail? Was the world ready for the concept? Not really. Apple didn't help with its advertising campaign that snubbed business as dull, dreary, and not worthy of a Macintosh, yet business should not only have been Apple's biggest customer base, but families wanted to buy their children the same computer they would be using in business. As a result, a far inferior computer, the IBM PC, running a command-line, baroque operating system (MS-DOS), swept the market. Within Apple itself, the Macintosh caused huge internal disruption between the Lisa, Macintosh, and the Apple II groups. The Apple II was where Apple was making its money: the other groups were losing money. Internal politics? Massive. Interdivisional rivalry? Yup.

New technological advances inspire inventors to dream of applications, from the silly to the reasonable: examine patent applications over the last century and most are mundane, many are silly, and some hint at broad breakthroughs. New products arose through the tinkering and experimenting of inventors. Most fail. But some were accepted as people discovered their value. Often they had to be nurtured, tamed, modified, but over time, a small number found their niche: the technology launched the products. The products discovered needs. People slowly adopted them, leading to more changes in the products.

Technology first, invention second, needs last.

Where does design research fit into this cycle? Design research has many definitions, but within the product cycle, it consists of studies aiming to understand the activities, desires, and needs of the people for whom a product or service is desired. Design researchers use a wide variety of methods, but all of them, whether it be ethnographic observations, systematic probes, or even surveys, questionnaires, and focus groups aim at one thing: to determine those hidden, unspoken needs that will lead to a novel innovation and then to great success in the marketplace.

In the product world, innovation comes in many forms. The least interesting innovations to the university and company research community are the small, slow enhancements that gradually lower costs while improving performance. But in fact, not only is this where most product enhancement takes place, it is also where the research community can add the most value. This is where ethnographic observation can be powerful, discovering the difficulties people have in everyday use, the workarounds and hacks they invent that suggest product modifications. This allows existing products to be modified at low cost, low risk, yet making them ever more attractive, ever more valuable to the customer base.

But even though incremental improvement is the most powerful and important mechanism for a company, all the excitement revolves around the dramatic breakthrough. And yes, the payoffs from these inventions are so large that their success cam compensate for the risk. But the initial products are almost likely to fail, so it takes a company with money and patience to succeed in these markets. And in these domains, although creativity and imagination are essential, design research, market research, and our beloved careful assessment of people's needs, whether visible or hidden, are largely irrelevant. The inventors will invent, for that is what inventors do. The technology will come first, the products second, and then the needs will slowly appear, as new applications become luxuries, then "needs," and finally, essential.

Once a product direction has been established, research with customers can enhance and improve it. Beforehand? Leave it to the technologists. They will get the grand ideas running, but their implications are apt to be complex, overwhelming, and just plain horrid. Horrid applications? Yes, but that's good news: we will forever be indispensible.


Don Norman wears many hats, including co-founder of the Nielsen Norman group, Professor at Northwestern University, Visiting Professor at KAIST (South Korea), and author: his latest book, Sociable Design: Why Complexity Is Better Than Simplicity is scheduled for publication in Fall 2010. He lives at jnd.org.


READINGS

Arthur, W. B. (2009). The nature of technology: what it is and how it evolves. New York: Free Press.

Kaplan, J. A., & Segan, S. (2008, July 18). 21 Great Technologies That Failed: The most innovative tech doesn't always succeed. Here we present 21 great technologies from both Apple and Microsoft that were simply too far ahead of their time. PCmag.com.
http://www.pcmag.com/article2/0,2817,2325931,00.asp

Nye, D. E. (2006). Technology matters: questions to live with. Cambridge, MA: MIT Press.


Column written for Interactions. © CACM. This is the author's version of the work. It is posted here by permission of ACM for your personal use. It may be redistributed for non-commercial use only, provided this paragraph is included. The definitive version will be published in Interactions.

Como siempre, controversial.