Actually, it’s more like Doc Searls: Wall Street Journal Cover Boy!
It’s a testament to Doc and also a hopeful sign of the times that the WSJ today features on its weekend cover a story by Doc about the theme of his new book, The Intention Economy. The title of the piece is “The Customer as a God,” a headline Doc didn’t write and isn’t entirely comfortable with. But the piece is strong. And getting it on the cover of WSJ is like getting a story about VRM on the cover of CRM Magazine. Which Doc also did.
big business continues to believe that a free market is one in which customers get to choose their captors. Choosing among AT&T, Sprint, T-Mobile and Verizon for your new smartphone is like choosing where you’d like to live under house arrest. It’s why marketers still talk about customers as “targets” they can “acquire,” “control,” “manage” and “lock in,” as if they were cattle. And it’s why big business thinks that the best way to get personal with customers on the Internet is with “big data,” gathered by placing tracking files in people’s browsers and smartphone apps without their knowledge—so they can be stalked wherever they go, with their “experiences” on commercial websites “personalized” for them.
It is not yet clear to the perpetrators of this practice that it is actually insane…
The headline brings to mind the most embarrassing headline I ever found one of my articles placed under. The article was about the need for human leeway in decisions about what constitutes copyright infringement. The title Wired supplied without my knowledge (that’s how magazines work) was: “Copy protection is a crime against humanity.” I can see the pun they intended, but taken at face values, it implies I think copy protection is on a par with genocide. I of course don’t even think copy protection is a crime.
And, yes, I am aware that the title for this post is also guilty of wild overstatement. I’m assuming — no offense, Doc — that even casual readers will understand that it’s hyperbole for humorous effect. Haha.
But Louis C.K. also thereby — in the vocabulary of Reddit — won the Internet.
There are lots of reasons to be heartened by Louis’ actions and by his success: He is validating new business models that could spread. He is demonstrating his trust in his audience. He is protecting his audience while making the relationship more direct. He is not being greedy. But it seems to me that Louis is demonstrating one more point that is especially important. Louis C.K. won the Internet by reminding us that the Internet offers us a chance for a moral do-over.
Way back in the early days of all of this Internet madness, many of us thought that the Internet was a new beginning, an opportunity to get things right. That’s why we looked at all The Hullabaloo about the Net as missing The Point. The Hullabaloo saw the Net as a way to drive out some of the inefficiencies of the physical world of business. The Point was that the Net would let us build new ways of treating one another that would be fairer, more fully supportive of human flourishing, and thus more representative of the best of what it means to be human together.
We optimists were not entirely wrong, but not as right as we had hoped. Even as late as the turn of the century, the early blogging community thought it was forging not only a new community, but a new type of community, one with social ties made visible as blue underlined text. That original community has maintained itself rather well, and the amount of generosity and collaboration the Net has occasioned continues to confound the predictions of the pessimists. But clearly the online world did not become one big blogosphere of love.
It’s difficult, and ultimately rather silly, to try to quantify the unfathomable depth of depravity, skullduggery and plain old greed exhibited on the Net, and compare it to a cumulative calculus of the Net’s loveliness. For example, most email is spam that treats its recipients as means, not ends, but the bulk of it is sent by a tiny percentage of email users. Should we compare the number of bits or of bastards? How do we weigh phishing against the time people put in answering the questions of strangers? How do we measure the casual hatred exhibited in long streams of YouTube comments against the purposeful altruism and caring exhibited at the best of Reddit? How do we total up the casual generosity of every link that leads a reader away from the linker’s site to some other spot? Fortunately, we do not have to resolve these questions. We can instead acknowledge that the Net provides yet another place in which we play out our moral natures.
But its accessibility, its immediacy, its malleability, and its weird physics provide a place where we can invent new ways of doing old things like buying music and concert tickets — new ways in which we can state what we think counts, new ways in which we can assert our better or worse moral natures.
I am of course not suggesting that Louis C.K. is a moral messiah or that he “won the Internet” is anything except playful overstatement. I’m instead suggesting a way of interpreting the very positive response to his relatively modest actions on the Net: we responded so positively because we saw in those actions the Net as a moral opportunity.
We responded this way, I’d suggest, in part because Louis C.K. is not of the Internet. His Web site made that very clear when Louis charmingly claimed, “Look, I don’t really get the whole ‘torrent’ thing. I don’t know enough about it to judge either way.” He goes on to urge us to live up to the trust he’s placed in us. He’s thus not behaving by some Internet moral code. Rather, he’s applying Old World morality to the Net. It is not a morality of principles, but of common decency.
And herewith begins a totally unnecessary digression…
This is coherent with Louis’ comedy. His series fits within the line that began with Seinfeld and continued into Curb Your Enthusiasm, but not just because all three make us squirm.
Seinfeld was a comedy of norms: people following arbitrary rules as if they were divine commandments. Sometimes the joke was the observation of rules that we all follow blindly: No double dipping! Sometimes the joke was the arbitrariness of rules the show made up: No soup for you! (Yes, I realize the Soup Nazi was based on a real soup guy, but the success of the script didn’t depend on us knowing that.) Seinfeld characters’s are too self-centered to live by anything more than norms. And, in a finale that most people liked less than I did, they are at last confronted with their lack of moral substance.
Curb Your Enthusiasm is a comedy of principles, albeit with a whole lot of norms thrown in. Larry and his world are made unlivable by people (including Larry) who try to live by moral rules. Hum a bit of Wagner while passing by a Jew, and you’re likely to touch off some righteous indignation as if you were siding with the Nazis. Larry won’t give kids without a costume any Halloween candy, and then can’t resist telling a cop with a shaven head that the cop isn’t actually bald according to Larry’s principled definition. In a parody of rule-based life, Larry takes advantage of the rule governing handicapped toilet stalls. (See also.) In Curb the duties of friendship are carefully laid out, and are to be followed even when they make no sense. Larry’s life is pretty much ruined by the adherence to principles.
Louis is less about norms and principles than about doing the right thing in a world unguided by norms and principles, and in which human weakness is assumed. When a male southern cop who has saved his life asks to be thanked by being kissed on the lips, Louis reasons outloud that he can’t think of any reason not to. So he does. Norms are there to be broken when they get in the way of a human need, such as to feel appreciated. Nor do principles much matter, except the principle “Thou shalt not be a dick.” So, Louis watches bemused as an airline passenger becomes righteously indignant because his reservation wasn’t honored. The passenger had principle on his side, but is cast as the transgressor because he’s acting like a d-bag. In his Live at Beacon show, Louis contrasts the norm against using the word “fag” with nondiscriminatory behavior and attitude. (I’d like to hear what Lisa Nakamura has to say about this.)
And because Louis is a comedian, the humor is in the human failure to live up to even this simple ideal of not being a total a-hole. In his $5 comedy album, Louis relates how he thought about giving up his first class airplane seat to a soldier in uniform. Not only doesn’t Louis give up his seat, he then congratulates himself for being the sort of person who would think of such a thing. Giving up your seat is neither a norm nor a principle. It is what people who rise above dickhood do.
So, here’s why I think this is relevant.
The Internet is a calamity of norms. Too many cultures, too many localities, too many communities, each with its own norms. And there’s no global agreement on principles that will sort things out for us. In fact, people who disagree based on principles often feel entitled to demonize their opponents because they differ on principles. The only hope for living together morally on the Net is to try not to be dicks to one another. I’m not saying it’s obvious how to apply that rule. And I’m certainly not saying that we’ll succeed at it. But now that we’ve been thrown together without any prior agreement on norms or principles, what else can we do except try to treat each other with trust and a touch of sympathy?
That’s what Louis C.K.’s gestures embody. Many of us have responded warmly to them because they are moral in the most basic way: Let’s try to treat one another well, or at least not be total dicks, ok? Louis C.K.’s gestures were possible because the Net lets us try out new relationships and practices. Those gestures therefore remind us of our larger hope for the Net and for ourselves — not that the Net will drive out all rotten behavior, but that we can replace some corrupt practices with better ones. We can choose to dwell together more decently.
He points to a problem in how we’ve thought about design, trained designers, and have practiced design. The great thing about designing simple products is that you can know almost everything about them: who made them, who they’re for, how they were produced, etc. But as products get more complicated, it gets harder even for a team of designers to really understand what’s going on. They get so complicated that there are lots of places design can fail.
When we go out to urban planning , that becomes even more obvious, he says. He shows Union Sq. when it was designed and how wildly NYC has grown around it. Or, at the Courtyard Marriott chain, every element of the user’s experience has been thought through. He shows a script that specifies every interaction. But you can’t anticipate everything. E.g., JetBlue is one of the best designed customer experiences and even they got it wrong a couple of winters ago.
What’s going on? It’s all about complexity. Henri Poincaré in the 19th century tried to solve the three body problem that had been set by the French govt as an open source competition. HP couldn’t solve it. It sounds like a simple problem, but it’s very hard. [BTW, there's a fascinating history of three French aristocrats hand-computing the movement of Halley's Comet, which depended on calculating the gravitational influences of multiple bodies. Can't find the ref at the moment]
Our basic ideas about design have been based on Newton, says Tim. Design assumes the ability to predict the future based on the present. We need to think more like Darwin: design as an evolutionary process. Design is more about emergence, never finished.
He presents a few principles of Darwinian design that he’s been exploring.
1. Design behaviors, not objects — the behaviors that come from our interactions with objects. If you’ve traveled on the high speed trains in Europe, there are signs urging men to be more accurate when peeing. But at Schiphol Airport, they print a fly at the right spot in the urinal; men became 80% more accurate. That’s designing behavior; the actual object doesn’t matter.
2. Design for information flow. Nicholas Christakis has looked at how networks affect behavior. Tesco uses its loyalty card — which cost them 20% of their margins — to increase sales.
3. Faster iteration = faster evolution. Viruses evolve faster than we do because they iterate faster than we do. E.g., State Farm tried out a new idea how to build relationships with the new generation. They built one storefront for this, and learned from it. “Launch to learn.”
4. Use selective emergence. This intrigues him, alathough he doesn’t know how useful it will be in design. Rather than random mutations, you choose what might be interesting and design things that get us there through many iterations. I.e., genetic algorithms. E.g., the Strandbeest walks along beaches with a hip joint unlike any in nature because the artist used genetic algorithms.
5. Take an experimental approach. I.e., testing hypotheses. Cf. Eric Ries, the Lean Startup (build, measure, learn). E.g., Ideo.org has been working on sanitation in Ghana. Where you can’t dig septic pits, Ideo has been experimenting with low cost receptacle toilets (with bio-digesters). But people didn’t want to pay for the service. So, they gave some to families and went away for three days. All the families changed their minds and said they are willing to pay for the service (which is provided by a local franchise).
6. Focus on simple rules. This comes from emergence theory. E.g., complex bird flocking patterns are based on simple rules. [Canonical example: Termite mounds.] E.g., Bi-Rite stores in SF uses simple rules: If an employee is within 10′ of a customer, you look the customer in the eye. If within 4′, you talk with them. This creates a wonderful service experience.
7. Design is never done. E.g., World of Warcraft is constantly being designed by its players.
8. The power of purpose. This creates the self-governance these complex environments succeed. Arab Spring and Occupy Wall Street are examples. Companies are experimenting with new ways of thinking about their business and products. E.g., Patagonia tells you not to buy its products because it also wants to preserve the environment.
The prototypical design artefact is a blue print. Once you created the blue print, the design was done. It was the instruction set for someone to make it. That’s how we think about design: finish and done. What replaces it: Code. It might be DNA (and Tim has people researching this), but more often it’s programming code. It’s an instruction set that can continue to evolve.
JF: You embody your principles. The rules are differen from a prior version. [ACK! Crash. Missed about 2 minutes]
TB: We’ve just finished designing the prototype experience for the new health care exchanges. It will affect how people choose which health care insurance to choose. Today it’s done with paper. Under the new health care laws, lots of people will get to make these choices. We worked with the CA Healthcare Foundation to prototype the user experience. What are the key pieces are parts? How can we keep the choices reasonably simple? Then each state will use this a platform to develop their own.
JF: And the govt had the wit to come to you to do this?
TB: The CA Health Care Foundation…
JF: What are the barriers? Does it cost more to do it your way?
TB: It’s often less costly. Most often they don’t have a good understanding of what their customers go through. When a health care org comes to us, relatively frequently we find out that a senior exec had to go through the health care experience. It’s true of all organizations. We don’t ask the right questions. The urgency to change is not there, and the resistance to change is always huge.
JF: Has the TSA come to you?
TB: Yes, but … well, we learned a lot. In the previous admin, we worked with them to find areas of change. Although going through the scanners has to improve, a lot of it has to do with the behavior of the people. They looked at a training program that was intended to take away some of the rule-based system they used. The more rules you apply, the less sensitive the system is. You need to give the people in that system much more independence to make judgments.
JF: Who do you hire?
TB: We look for a wide range of people. Many disciplines. We look for deep skills, and for empathy. It’s hard to solve problems for others without that. Also, most of what we do is too complex for individuals, so we work in teams, and thus people need an enthusiasm for empathy.
JF: Any unusual interview techniques?
TB: We put people into a situation in which they’re practicing design. E.g., intern program. Also, competitions. And we use Open Ideo as a way of seeing how people work.
JF: Beyond the toilet, what else are you doing for “design for poverty.”
TB: I got excited when I saw the opportunities for design in some social design work. At Open Ideo we’re working on clean water, early ed programs, etc. Ideo.org is a non-profit org. We want it to be sustainable and scalable so we look for external funding for it.
JF: How do you approach environmental sustainability?
TB: We try to build that into every project. Every project affects the environment. We try to bring sustainable thinking around systems, materials, energy flows, etc.
JF: What projects are you proudest of?
TB: The work we do in health care, including with Kaiser Permanente. Also, consumer-facing, post-crash financial services. PNC digital wallet. “Keep the change.” Etc. This is not an area where design has had much to do.
TB: For physical objects, it peaked maybe 20-30 years ago (with Apple as an exception). But we’re in ascendance for behavior-based designed. We get 25,000 apps a year for 100 openings. We’re a 600-person company. Etsy, Kickstarter, sw designed better than ever before…great things are happening. Soon if not already the number of digital designers will be greater than all other designers combined.
Q & A
Q: Your principles are so close to Buckminister Fuller’s [says the guy from the Fuller institute]. But the boundary between social and evolutionary systems is illusory.
TB: Yes, Fuller figured this out a long time ago. We’re perhaps resurrecting ideas, as every generation does. Design has operated as a priesthood for too long. When I started, I was only interested in how beautiful something is. That’s so much simpler. Opening design up to many more will convince us all that we’re all part of this big design ecosystem and have a responsibility to be thoughtful about the contributions we’re making to the world around us. I hope professional designers learn to enable that, more than controlling it. The B School at Stanford is introducing non-designers to design, which is great.
Q: What can we do to simplify the rules?
TB: The unstated bit of my thesis is that you still have to stop and design something. We develop an idea, perhaps more through iteration. That process doesn’t change. For rebuilding a complex system, maybe big data will help us to see patterns that allow us to understand what we’re designing’s complex effects…but I don’t think we’re there yet. We should be thinking about the hooks we’re building in. I’m big into APIs that allow other people to build with what you’ve built.
Q: Is it training or DNA that determines a good employee for you?
TB: Both. We hire people straight out of grad school because they’re moldable. We hire older people, but it’s harder for them to adapt. I don’t have much control as CEO. The future of all businesses is to have cultures that are a s self-governing as possible. That’s much more resilient and agile than cultures built on inflexible rule sets.
Q: I chair a land conservancy. We create parks in urban areas. Does Ideo have much experience in designing to create behaviors that will get people to use parks? What’s your view of the state of park design?
TB: We don’t have a lot of expertise in designing anything because we like designing everything. The High Line and the West Side park in NYC are remarkable examples. Projects like that show that parks can be remarkable assets to the city. We’re working with High Line on the third phase of that project. NYC’s life expectancy has gone up 3 yrs. Two explanations: People are closer to health facilities, and people walk more.
Q: What are the logistics of running a decentralized org? Mentoring? Sharing a vision?
TB: Purpose creates a sense of direction, so we talk about why the heck we’re doing what we’re doing. We think we should measure everything we do based on the impact it has on the word. We’ve done an occasionally decent job of mentoring; that can be a problem with a decentralized org. It’s a tension. Most of our employees probably want more mentoring, but we also want autonomy. We are not big believers in warehousing knowledge. Designers hate reusing other people’s ideas. It’s much better to have knowledge systems that inspire people to think in new ways. So we’re a storytelling culture. It’s a bit of an obsession of ours. If you do a piece of work, your job is to have some stories to tell about it. That’s more effective than big reports that live in a database somewhere.
(JF calls for all remaining questions)
Q: My group works with at-risk youth. Education is increasingly standards based, but your work is collaborative.
Q: How do you look at chaos? People in open markets are open and affectionate. In corporate controlled spaces, people shut down.
Q: Does form drive function or vice versa?
Q: Apple is a closed system. Google wants more control. Open vs. controlled systems?
TB: 1. University ed is not always the best way to teach entrepreneurship. Apprenticeships are interesting. 2. Great markets are vibrant, but not chaotic. I take clients to the Ferry building to point out all the interrelated pieces that make that such a great experience. It’s not top down, but you can see the patterns and use them as inspiration. 3. Form follow function? Hard to kick that notion because I believe in beautiful engineering, but most things we’re designing today have hundreds of functions, so you can’t get a single form for it. 4. I love closed systems but I think they’re inevitably part of an open system. IOS is part of an open system of everything else that I do with it. We need both. [At last! Something I disagree with! Sort of! :)]
[Fantastic. I've been a huge fan of Ideo's work, and Ideo's organizational ethos, and Tim Brown, for a long time. So I felt particularly narcissistic as I heard this talk through Cluetrain and Too Big to Know lenses. Substitute "knowledge" for "design" and you get a lot of the ideas in 2b2k. To hear them coming from Tim Brown, who is a personal idol of mine, was a self-centered thrill.]
NOTE: Live-blogging. Getting things wrong. Missing points. Omitting key information. Introducing artificial choppiness. Over-emphasizing small matters. Paraphrasing badly. Not running a spellpchecker. Mangling other people’s ideas and words. You are warned, people.
She says that the Off the Bus effort now strikes her as surprisingly structured and profesionalized. For a year and a half, they recruited citizen journalists. Of the 12,000 of the people who participated, only 14% wanted to write articles on their own. The formalized approach Off the Bus took has been adopted by sites that invite readers to contribute their photos, their thoughts, etc.
The biggest shift, she says, is how much the campaigns rely upon data. E.g., how did Romney think he could win Iowa with just a few offices? The people who worked for him had identified die-hard supporters, who were asked to call other supporters, who were also then asked to call. In 2004, we the people were making media constantly. Now the engines driving the campaign are largely under the hood. So, if you’re reporting on campaigns today, you’re doing email analysis to understand the candidates’ strategies
Matt: It’s amazing how much media people now have woven into their days. A study shows that people are now spending 700 mins a day on media. Media is now a layer on top of people’s everyday experience. We looked at how a persistent story — a storm damaging a town — has been told throughout history. The single thing that stood out: We’ve gone from medium as an appointment you keep to media as a constant texture that both succors and buffets you.
Amanda: That’s why in 2008 we used a formalized approach — asking reporters to sign up and giving them assignments — and now people know if they go to a campaign event, they’ll be asked to post photos and twist.
Amanda: How has the shift between media and people changed?
Matt: We used to broadcast. We used to send out msgs. Now people use their mobile devices to talk with one another. We sit in this space, right alongside them. For us at NPR, that position is sweet. Radio is intimate. People can now carry us with them. That intimacy has created a drastically new dynamic for us.
Amanda: At Pro Publica, we worked on “explainers,” explaining questions people have. Readers told us they were particularly useful. I’m interested in how we can hold those in power accountable. We did the “stimulus spotcheck” to see how the economic stimulus money was being used. We asked our readers if we could tell what was going on. I asked readers to help us identify sites. Readers checked 550 sites around the country — 4.5% of construction sites aroiund the country — and we found that that gusher of work was further down the pipeline.
After making multiple phone calls, readers would sometimes say, “Journalism is hard,” which helps them understand the value of journalism.
The big challenge for media institutions is to keep their eye on the ball. The ubiquity of media can give you the false confidence that you’re seeing all there is. You’re checking Twitter, but many stories are much more difficult to find, and there are many people who don’t have a voice.
Amanda: Matt, what do you see coming?
Matt: I try to work through with the journalists the idea that we’re moving from stories toward streams. Humans have told one another stories forever, and will do so. But stories with beginnings, middles, and ends, are being augmented by the constant stream of info. Andy Carvin is constantly tracking events in the Middle East over Twitter. It’s a very different experience — no beginning, middle, end. Twitter gives you a sense of the texture of the lives of the people you follow. “We’re encountering the end of endings,” said Paul Ford. At NPR we’re trying to pull back to tell a longer story, a quest.
Amanda: There is this real need to see the context. Other trends: We’re going to be making sense of the world through the visual. We’re moving from the written word toward the image. At The Guardian, we think about how to bring people along in an ongoing process. How do you tether together items in the stream?
[Great session. My fave so far. But I'm a pretty big fan of both of these people.]
Is it just me, or are we in a period when new distribution models are burgeoning? For example:
1. Kickstarter, of course, but not just for startups trying to kickstart their business. For example, Amanda Palmer joined the Louis CKclub a couple of days ago by raising more than a million bucks there for her new album. (She got my $5 :) As AFP has explained, she is able to get this type of support from her fans because she treats her fans honestly, frankly, with respect, and most of all, with trust.
2. At VODO, you can get your indie movie distributed via bittorrent. If it starts taking off, VODO may feature it. VODO also works with sponsors to support you. From my point of view as a user, I torrented “E11,” a movie about rock climbing, for free, or I could have paid $5 to stream it for 10 days with the ability to share the deal with two other people. VODO may be thinking that bittorrenting is scary enough to many people that they’ll prefer to get it the easy way by paying $5. VODO tells you where your money is going (70% goes to the artist), and treats us with respect and trust.
3. I love Humble Bundle as a way of distributing indie games. Periodically the site offers a bundled set of five games for as much as you want to pay. When you check out, you’re given sliders so you can divvy up the amount as you want among the game developers, including sending some or all to two designated charities. If you pay more than the average (currently $7.82), you get a sixth game. Each Bundle is available for two weeks. They’ve sold 331,000 bundles in the past three days, which Mr. Calculator says comes to $2,588,420. All the games are all un-copy-protected and run on PCs and Macs. Buying a Humble Bundle is a great experience. You’re treated with respect. You are trusted. You have an opportunity to do some good by buying these games. And that’s very cool, since usually sites trying to sell you stuff act as if buying that stuff is the most important thing in the world.
4. I’m hardly the first to notice that Steam has what may be the best distribution system around for mass market entertainment. They’re getting users to pay for $60 games that they otherwise might have pirated by making it so easy to buy them, and by seeming to be on the customer’s side. You buy your PC game at their site, download it from them, and start it up from there. They frequently run crazy sales on popular games for a couple of days, and the game makers report that there is enough price elasticity that they make out well. If I were Valve (the owners of Steam), I’d be branching out into the delivery of mainstream movies.
There’s of course much much more going on. But that’s my point: We seem to be figuring out how to manage digital distribution in new and successful ways. The common threads seem to be: Treat your customers with respect. Trust them. Make it easy for them to do what they want to do with the content. Have a sense of perspective about what you’re doing. Let the artists and the fans communicate. Be on your customers’ side.
Put them all together and what do you have? Treat us like people who care about the works we’re buying, the artists who made them, about one another, and about the world beyond the sale.
Yesterday at the Mesh conference I caught the second half of Michael O’Connor Clarke‘s presentation, to a packed house, about how not to use social media for marketing. I’ve known Michael since the Cluetrain days, and it was great to warch him argue against viewing social media as a messaging vehicle.
Michael has long championed understanding the Net as, well, a conversation that needs to be respected. Keeping that conversation as open and vibrant as possible is more important than your business’s tawdry ambitions, he says. (I am not just paraphrasing here, but entirely putting words in his mouth.) If your business wants to engage with it — and not every business has to, he says — then it should be engaged with by actual people, with actual names, actual interests, and actual personalities. Completely transparently, of course.
Brian Millar has a brief article in FastCompany about his company’s strategy of consulting “extreme customers” to get insight into existing products and ideas for new ones. He writes, “You can learn a lot about mobile phones by talking to a power user. You can learn even more by talking to somebody who’s deliberately never bought one.” And
We recently worked with some Brazilian transsexuals on hair-removal products, looking at ways of making the process less painful. I can assure you, we had their full attention. Some are still sending us ideas.
It’s a great illustration of the fact that innovation tends to come from the intersection of orthogonal streets.
I’ve got a post at the Harvard Business Review site about what I’m calling (not too seriously) The Gettysburg Principles. The point is that you can keep your customers buying from you if your business is of your customers, by your customers, and for your customers. “Of” means that your business is made up of people like your customers. “By” means that your customers are contributing to the creation of your product. “For” your customers means you put them first. These three terms give a handy way of analyzing why customers stick with some businesses even if they have to pay a bit more or make some other adjustments.
Look up a patent at the US Patent Office site, click on “Images” to see the image, and the chances are very good that you’ll get the sense that people are patenting white paper over and over and over again. The images generally do not show up. (Example)
A little exploration (which you shouldn’t have to do) explains that this is knowingly broken:
These full-page images are not directly viewable using most Web browsers.They are in 300 d.p.i. Tagged Image File Format (TIFF). However, there are many variants — or “flavors” — of TIFF, including different ways of compressing the image data within the TIFF file. The TIFF flavor used by PTO and other countries’ intellectual property offices is international standard ITU T.6 or CCITT Group 4 (G4) compression. Displaying them requires either a TIFF G4 plug-in for your browser, or a properly installed and configured application to which your browser sends G4 TIFF images for display. Note that relatively few image viewers and plug-ins handle G4 compression.
So, here’s an idea: Convert the images to a format that browsers can handle. Post those. Make TIFF the format you have to ask for specially.
Would a business post links to images that they know won’t show up, and make you go to a Help page to discover why? (Thanks to Greg Cavanagh for the alert.)
Julianne Chatelain investigates why Rich Berlew’s Kickstarter project became one of the top ten of all time, and the #1 in the creative category. She provides a concise, insightful look at why user experience counts for a lot, even when you’re supposedly just making a business proposal: give me $57,750 and I’ll reprint one of my “Order of the Stick” web-comic compilations. Berlew received $400,000 in the first 12 days.