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Not-Separateness

28 Monday Sep 2026

Posted by petersironwood in AI, creativity, design rationale, essay, HCI, leadership, management, nature, politics, psychology, Uncategorized, user experience

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AI, architecture, art, beauty, Design, development, ecology, governance, GreenNewDeal, HCI, human factors, IBM, leadership, painting, peace, photography, society, technology, TNOO, UI, usability, user_experience, UX, ux-design

Not-Separateness

It seems odd to specify a property of natural order in terms of what it is not. On the other hand, I cannot come up with a positive alternative that doesn’t bring other connotations with it. I think it’s related to “unified” or “integral” or “belonging” or “inter-related” but none of those seem quite so on the mark as does “Not-Separateness.” 

Christopher Alexander’s degree from MIT was in architecture. Part of the reason he may have chosen this particular term is in reaction to some examples of architecture in which the architect seems to be in the business of constructing a building whose primary purpose is to make them famous regardless of what that building does to the neighborhood or its occupants. 

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Imagine Mr. Bigg designs a house that is a perfect black cube set on on vertex. In effect, this design says to me: “I am BIG. I am Mr. Bigg! I am a genius! You would have never been brilliant enough to design a house that is a cube on its vertex! You would have wasted your time and done something mundane like placed the cube on the ground on one of its faces. Anyone could think of that! But I put it on a vertex!” Indeed, we may easily imagine that he says words to this effect when his interview is reported on in the (mythical) architectural journal entitled, Things that look different! 

“Mr. Bigg, you made the Bigg House out of black steel and black glass. Some critics have argued that this doesn’t fit with the existing neighborhood of stone cottages with thatched roofs.”

“Of course, little minds will always criticize Bigg ideas.” 

“Yes, yes. It also means that the construction costs of the house were quite high. And, the estimated costs of heating and cooling are much higher as well.”

“Nothing that a worthwhile (i.e., wealthy) client can’t afford.” 

“Some have also argued that it is inconvenient for the occupants who have to walk up and down at a steep angle and that furniture such as dressers, tables, chairs, and beds do not accommodate well to the tilted walls.” 

“Let me ask you a question. Would you have ever thought of putting a cube on its corner? No. I didn’t think so!” 

Of course, this is exaggeration.

But not much. 

We would hope that User Experience designers take into account the users, their tasks, their contexts, and the way in which their designs interact with other related artifacts, people and processes. We would hope that applications and artifacts and services are all designed with the property of “Not-Separateness.” 

In the early 1980’s, I worked in the IBM Office of the Chief Scientist. My main assignment was to get IBM to pay more attention to the usability of its products. As part of that process, I visited quite a few IBM development labs around the world and spoke to many development teams. On many of these visits, I was accompanied by the Chief Scientist, a brilliant physicist, who “got” usability. 

On one occasion, we watched a new printing technology. Instead of printing out black printing on a white sheet of paper sized 8.5” x 11” or A4, this printout was of no standard size. The printing was black on a shiny silver sheet that curled severely. The Chief Scientist asked the head of the development team how they envisioned this being used. 

Chief Scientist: “Once someone printed this out, what would they do with it?”

Answer: “Oh, anything they liked.” 

Chief Scientist: “I mean, would people tape this into a notebook or paste it? Or would you imagine notebooks that would bind such paper?” 

Answer: “It’s not up to me to decide how people would use it. Doesn’t it look cool?” 

Another type of answer we heard more than once to the question, “How would this be used?” 

— “Oh, it’s a (replacement/upgrade) for this other IBM product.” 


“But who would use it and for what?” 


“It has three main components. Would you like a description of the components?” 

Photo by Andru00e9 Ulyssesdesalis on Pexels.com

Of course, there is a place for “playing around” with technology and thereby discovering things which someone else may find a use for. But in design and development of a product or service, having a clear notion of context of use and the users and tasks is fundamental. Of course, other users may appropriate a product or service for purposes beyond those envisioned by the original designers. That’s cool. 

What’s not cool is designing a device that is to be used in the bright outdoor sunlight and then testing the display in a typical office environment. Have you ever run across something like that? I have. Many times. At ATMs, Gas Stations, and outdoor display maps.

A more subtle lack of contextualization in design occurs when the design team fails to realize how many interruptions happen to the user while they are trying to accomplish a single task with the new application. If you “test” the application while the user is in a quiet “usability lab” and they can give your tasks their undivided attention, then necessitating them to remember the invisible internal state of “Insert” versus “Edit” mode may not be a big deal at all. They will simply remember. But in their office environment, they may be interrupted by a phone call, a message, or their boss entering their office and asking a series of detailed questions. If they now go back to the task at hand, there is about a 50-50 chance that they will correctly guess whether they are in “Edit” mode or “Insert” mode. 

A design which shows the property of Not-Separateness is the natural result of a process which shows not-separateness. Here are a few common ways to help ensure the design process grows organically from the users and their goals & contexts. 

* Put people on the design team who are familiar with the users, and/or their tasks, and/or their contexts. 


* People on the design team observe people engaging in the relevant processes, whenever possible, not — or not only — in a “Usability Lab” but in the actual work environment. For instance:

  • Observe people actually using product P (or service S) in version N so that version N+1 can be better attuned to the needs of the users.
  • Have people think aloud while doing this.
  • Gather and understand feedback from service calls and help desks and customer complaints in order to improve over time. 

There will be benefits to a company who takes such approaches beyond initial sales. If you’ve done any gardening, you will appreciate that the quality of the tomatoes you enjoy eating is related to the quality of the soil and the quality of the care you give the tomatoes. Similarly, a product or service that has the quality of Not-Separateness will not only be useful — users will fight to keep your product or service. It becomes integrated with the environment. To change the brand means that they will have to change the way they work; possibly even with whom they work. Not-Separateness is likely a path to what business people like to call a “Cash Cow.” 

If you’ve ever walked through a neighborhood after a hurricane, you’ve likely seen many uprooted trees. When you look at the roots of an uprooted tree, what do you see? Of course, you see roots. But what else? You see rocks and soil all around and embedded into the roots. They are Not-Separate. In a hurricane, there are typically not only high winds. There is also a lot of rain. The trees are hit with a double whammy. The wind pushes the tree but the rain weakens the solid soil in which the tree is embedded. It is the combination that makes it very difficult for the tree to “hold on” and keep from falling over. 

Living things, just like us, have a 4.5 billion year history of living. The living things adapt over time to their environment and they mold the environment to their needs. They are not separate. Flowers appeal to the insects who pollinate them. The insects who pollinate them are adapted to the characteristics of the flower. A horse adapts to their rider and the rider adapts to their horse. A product or service must have a design that serves the needs of its stakeholders. For a product or service to have maximum beauty, utility, and longevity, it must also have a way to adapt to the changing needs of the users and other stakeholders. At the same time, if the users and their organizations adapt to the product or service, then true Not-Separateness is achieved. 

If you want to skimp on designing your product or service, you can make it more separate, more divorced from its context, its users, and its tasks. Of course, if you do that, you also make much easier for your users to abandon your product and switch to a new one. 

Another way to think about this in terms of systems theory is where you draw the boundary. If you draw a sharp boundary around your product, you may find that, over time, your product becomes ever more peripheral to the community you’re trying to support and your product is ever more fungible with others in its class. On the other hand, if you draw the boundary around the product or service and the people and organizations who provide the product or service then, you are on the path of ever tighter interconnect. 

“Who Speaks for Wolf” is a Pattern in a Pattern Language for Collaboration and Cooperation. It is based on a Native American story and shows the importance of making sure that knowledge and perspectives of all relevant stakeholders are taken into account when a change is contemplated. Who is “relevant” may not always be obvious, but, in my experience, many more projects fail or are delayed because of too limited a view than of too broad a view.

Who Speaks for Wolf

Not-Separateness is not only a quality of good design in terms of not overly separating the context and users from the product or service. It is also a good quality for the organization that produces products & services. Of course, some people today must manage a giant amorphous “organization” of tens of thousands of people so they set up divisions, and departments, and groups, and teams, and positions etc. There may indeed be a “UX Department” and a “Software Department” and a “Hardware Department.” That’s all fine. But it is counter-productive if the UX Department sees itself as separate from the rest of the company. To a great extent the success of the UX Department depends on the success of the Hardware and Software Departments. The Sales Department’s success will, of course, depend partly on the skills of the Sales Department. But it will also depend on the success of the UX Department, HW, SW and Services. 

Have you ever had a paper cut? It isn’t just the skin on a quarter inch of the inside of your ring finger that’s cut. You’re cut! It isn’t just that the finger feels pain. You feel pain! That causes you to take steps to ameliorate the pain and to try to make sure it doesn’t happen again. That’s why empathy in leadership is important. A leader must feel empathy for all, or the organization will disintegrate from lack of Not-Separateness. At some point, a raccoon may chew off its own arm in order to escape a trap. 

But it isn’t the first thing that occurs to them every time they experience a thorn in the paw! 

The raccoon doesn’t say to itself:  — “that paw is giving me pain! I’m going to chew it off! Then, it won’t hurt any more.”

Photo by anne sch on Pexels.com

Evolution did not evolve a raccoon that acts that way. Self-mutilation exists but it is typically a last resort.

But not for corporations. It is the first thing they think of:

“Our (you name it) Department is not performing well. Let’s lay them off and outsource it. Better yet, we’ll replace it with AI!”

What does that say to every thinking employee in the entire corporation? It says:

“You know what? All this talk about teamwork and pulling together is a total bunch of bull$hit. You cannot trust management to do what’s best for everyone. You can only trust them to do what’s best for them.” 

Living forms in nature are living forms. Their parts have severe Not-Separateness with the other parts of that form. Often, as in well-functioning families or teams, that extends to all members of the group. 

Not-Separateness is essentially deep cooperation. I give to the larger community by becoming a part of it and doing my part in it. I lend strength to the community. In return, I gain strength from that community. It is not a zero sum game, of course. The community, if it is functional, is much stronger than the sum of the individuals in that community. 

This is so deeply embedded in 4.5 billion years of evolution that it does not surprise me that we recognize beauty as being even more beautiful if it is not separate. Not-Separate enhances beauty because, like all the other properties, it is essential to life. 

Eventually, if humanity is to survive, we will realize that Not-Separateness applies to all of us. We are not there yet. But that doesn’t mean we cannot appreciate and design Not Separateness in our products, in our services, and our lives. 

Photo by Pixabay on Pexels.com

—————-

The Declaration of Interdependence

How the Nightingale Learned to Sing

Roar, Ocean, Roar

Imagine all the people

Cancer Always Loses in the End

Ripples

Author Page on Amazon

Thomas, J.C. and Kellogg, W.A. (1989). Minimizing ecological gaps in interface design, IEEE Software, January 1989.

Thomas, J. C. (2012).   Patterns for emergent global intelligence.   In Creativity and Rationale: Enhancing Human Experience By Design J. Carroll (Ed.), New York: Springer.

Thomas, J. C. (2001). An HCI Agenda for the Next Millennium: Emergent Global Intelligence. In R. Earnshaw, R. Guedj, A. van Dam, and J. Vince (Eds.), Frontiers of human-centered computing, online communities, and virtual environments. London: Springer-Verlag.

Thomas, J.C. (1985). Human factors in IBM. IBM Research Report. RC-11267.  Yorktown Heights, NY: IBM Corporation.

Simplicity and Inner Calm

27 Sunday Sep 2026

Posted by petersironwood in Uncategorized, psychology, management, creativity, politics, nature, design rationale, essay, user experience, HCI, leadership

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aessthetics, architecture, art, beauty, Design, HCI, human factors, leadership, life, lifestyle, management, painting, photography, TNOO, usability, user experience, UX, writing

Simplicity and Inner Calm

(Christopher Alexander, architect and city planner, proposed fifteen properties as characteristic of natural order. I’m considering them one by one in terms of society, design generally, and user experience in particular. “Simplicity and Inner Calm” is number 14.)

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“Send me $50,000 and I’ll enroll you in a two year course in Simplicity and Inner Calm. All you have to do then is follow the twenty-five hundred rules on the Path to Enlightenment while renouncing everything else.”

Somehow, that does not seem to be in the spirit of simplicity and inner calm. Some of the properties I discussed earlier are closer to being about something “out there” that is somewhat measurable; e.g., levels of scale, boundaries, alternating repetition, roughness. Simplicity and Inner Calm are characteristics of things “out there” but they cause or at least resonate with simplicity and inner calm within a person. 

I don’t think it’s reasonable to expect a place to enforce a particular emotional state. If someone arrives at a beautiful still lake with hate and rage in their heart and possesses a determination to stay mad by God because he deserves to be mad! Then the mere presence of beautiful scenery won’t calm them in some immediate and magical way. But, I would bet money that they would be less upset an hour later than when they arrived. 

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Meanwhile, let’s imagine their identical twin also had an identical quantity of rage in their heart and arrived at a loud buzzing booming construction site and had to sit there for an hour. Such a setting, I would imagine, would do nothing to calm them and might make them even more enraged. 

Photo by Leonid Danilov on Pexels.com

Of course, as any therapist can tell you, what you do inside your head often has more to do with how you feel than does the objective situation. I certainly believe that. Yet, I also believe that situations out there make a difference on average. In my experience, being in a safe situation surrounded by natural beauty tends to make nearly everyone feel better. 

Not all situations “work” equally well for everyone, but for most of the people I have interacted with, views of distant mountains; calm clear lakes; ocean shores; a clearing in the woods — especially if there is a calm animal there; a single tree on a small hilltop — these tend to induce a feeling of simplicity and inner calm. 

There are two things that have amazed me for a long time about natural settings. I think they both relate to why natural settings seem to produce more simplicity and inner calm. 

The first mystery is auditory. I have heard the calls of many creatures in nature. Most are, in and of themselves, attractive. Some are beautiful. A few are more annoying sounds. But for me, at least, they never seem to clash. Walking through a field and forest, I may hear insects, frogs, and a dozen species of birds. But none of them clash. Fancifully, I could say that the auditory sphere in a natural setting reinforces the reality that all life is kin. I am of this world. Wilderness was the home of my ancestors and yours for four billion years. We are all instruments in one orchestra. That adds to inner calm.

The second mystery is visual. I’ve walked through many natural settings and have seen what must be every color possible to see. But the colors never “clash.” How can that be? It’s one thing to mix and match greens and blues. They don’t really seem to clash that much even in artificial settings. But what about pinks, reds, oranges? I’ve seen plenty of people wearing clothing that clashes and likely been guilty of it myself. But autumn leaves? They are all over the place chromatically, but they never clash. This also adds to inner calm.

Photo by Jacob Colvin on Pexels.com

I think the genetic reason that clashes are not prevalent in nature is that we co-evolved with the environment. Perceiving harmony in what is would have been adaptive in two important ways. First, since harmony is the natural state, feeling good while surrounded by harmony would mean that you would feel good most of the time. As Harry Potter once put it, you would have something worth fighting for. If you enjoy life, then, when the going gets tough, you are more likely to tough it out.

Second, when things go sideways in external reality, you would quickly notice the disharmony. While normally, you would feel peaceful, when the birds suddenly start fleeing in one direction and squawking, your feeling would change and you would be more likely to prepare and therefore survive whatever comes next. 

These reasons are manifest in some of the other fifteen properties. For example, the roughness of shape of autumn leaves means that there will be natural variation in color as seen even if they are actually identical (which of course, they are not). Having distributions of color is a kind of “roughness” characteristic of nature’s colors. Clothing on the other hand is another matter. The goal of mass production is lack of variability. So, 10,000 items are precisely the same color (or as close as humanly possible). If one is slightly off, it is noticeable. If each of the 10,000 items were part of a very broad, multidimensional distribution, being slightly more extreme than most would not produce a perception of clash. 

That, to me, is also the problem with monoculture as a social philosophy. I delve into this in more detail in the blog post — “A tight flock united by division.”

A tight flock united by division.

Briefly, the more everyone is supposed to “toe the line” to a particular way of doing things; e.g., which restaurants to go to, which shows to watch, which religion to believe in, what clothes to wear, what food to eat, etc., the more intolerant the society becomes. And the more intolerant it becomes, the more people try desperately to adhere to the middle of the crowded road they share with everyone they know. Everyone who does anything differently comes to be seen as a reproach to the lack of individuality in the middle of the road. And the people who insist that everyone must stay in the middle do not want to move. Not only that. They insist that they are exercising their freedom of choice by being exactly in the middle as determine by everyone else and not at all by them. It is rather humorous at one level and rather pathetic at another.

But just as such sharp and arbitrary boundaries in artificially produced goods mean clashes are more common, so too in human societies, when there is a group that insists everyone be exactly like them and, at the same time, insist that they are expressing their freedom, clashes are inevitable. Harmony and truth are no longer conceived of as being desirable. When people reject the resolution of conflict via agreed upon rules of law, what results is inevitably chaos and death. It is almost the polar opposite of Life. 

Photo by Anna Tarazevich on Pexels.com

Some epidemiologists think the various recent explosion in the variety of pollutants that we are all subject to has resulted in a much higher incidence of auto-immune diseases and allergies. The immune system sees so many different invaders, it has trouble distinguishing real threats (streptococcus, covid, cancer cells) from imaginary ones (peanut oil, cat dander, tree pollen). 

In similar fashion, people stuck on a thin sliver of what they feel is “normal” feel assailed from all sides. They can no longer distinguish real threats (COVID 19, Climate catastrophes, racial inequities) from imaginary ones (chip implantation via needles, Medicare for all, mask mandates). Clash. Clash. Clash. No “Simplicity and inner calm.” 

But from their perspective, there would be “Simplicity and inner calm” if only everyone were just like them! Most will deny this, when put so baldly, but that is essentially what they strive toward.



There can be many such factions, all with different rigid and implacable beliefs or only two (Right/Left; Catholic/Protestant; Striders/Walkers) or really, only one. It only takes one faction to reject all connection to truth in order to destroy simplicity and inner calm — even though, ironically, that is what they are actually trying to achieve. 

Moving from societal beauty to user interfaces, for the most part, I would have to say most UIs lack simplicity and inner calm. They seem to be splattered with functions and features everywhere. This is not surprising since most product managers believe that sales will be greater with more functions and features. 

Photo by Alex Knight on Pexels.com

When I use pages, I would say my user experience is mainly one of simplicity and inner calm. That mainly comes from the fact that my attention is almost entirely on writing and I ignore everything else the interface offers “around the edges” of my vision. Sometimes, something untoward happens and the “harmony” of my environment is temporarily destroyed. Then, I have to stop writing and pop out to the interface level in order to diagnose and fix the problem. Once I do that and return to writing, I again feel “simplicity and inner calm.”

On much rarer occasions, I will wish to do something “unusual”; e.g., I might want to put a table in the text to illustrate a point. Then, before I can work on the task at hand — creating the proper table — I must first search for the proper functionality. Since I do not typically do this, I am like the creature in the forest suddenly alerted to the presence of possible “predators” (such as accidentally destroying my file). 

I have found very few UI’s that, in and of themselves, are conducive to feelings of simplicity and inner calm on first use. I have often come to feel that way fairly quickly after I become conversant with the basic functions. 

Photo by Johannes Plenio on Pexels.com

We evolved for millions of years to resonate with the simplicity and inner calm of peaceful natural settings. It’s not surprising that it would be difficult to reproduce that feelings with an artificial interface. But familiarity does move us in that direction. When I glance at the toolbar across the top of the “Pages” page, e.g., I see a set of pull-down menus. I don’t recall exactly how the entire menu structure is laid out, but I do know how to use it and explore it. This familiarity, in and of itself, helps me feel more serene, more secure, safer. 

Although I am very interested in seeing new ideas in UI, I am more likely to use a different sort of UI if I am seeing a completely new kind of functionality or access to new kinds of data. I would be far less interested in trying a completely new UI for writing, say, or an application that had the same features and functions as Bluesky but with a completely different UI. 

Sometimes, even radicals are conservative. 

If you wanted to design something that evoked simplicity and inner calm, would you yourself want to be in such a state while you were designing? Would that help or hinder you? Or, perhaps you would use the design experience itself to force yourself to experience simplicity and inner calm. Do you have any examples of a UI with simplicity and inner calm? I don’t refer here to an application whose sole purpose is to guide you through meditation. There are surely many things available whose content is meant to evoke simplicity and inner calm. But are there UI’s which, in and of themselves, evoke simplicity and inner calm? 

Photo by Markus Spiske temporausch.com on Pexels.com

——————————

What if…?

The Isle of Right

John vs. Worrier

You must remember this

Shooting the moon

Checks and balances

How the nightingale learned to sing

Ah wilderness

Comes the reign

The jewels of November

The Forest

Somewhere a Bird Cries

The Dance of Billions

Author page on Amazon

Some recommended books:

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

The Void

26 Saturday Sep 2026

Posted by petersironwood in creativity, design rationale, essay, health, leadership, management, nature, psychology, Uncategorized, user experience

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aesthetics, beauty, calm, creativity, death, HCI, human factors, leadership, life, love, mental-health, mindfulness, pattern language, productivity, psychology, the-void, TNOO, UI, usability, user experience, UX, vacuum, void, writing

The Void

While all the previous properties of natural order seem positive, clear, and obvious, this one seems mildly scary. It reminds me of death, somehow. It’s true that individual death is part of the overall reality of life. Yet, “The Void” still seems scary. It’s reminiscent of whirlpools, caverns, the abyss. I suppose some of our tiny distant ancestors may have faced the dark mouth cavity of a large predator — a shark, a cave bear, a saber toothed tiger. And a few of those who were terrified enough to flood their bodies with adrenalin may have escaped to reproduce and pass on the terror of utter darkness genes to their offspring, including me.

In a friendlier interpretation, the void could be thought of as “empty” space, or more accurately, extra space not filled with functional items. From that perspective, The Void promotes rest, relaxation, rebirth, regeneration. Your day should include “The Void” in terms of activity — sleep, certainly, but also times that are unscheduled and restorative. If you are scheduling a day long meeting and every minute is accounted for ahead of time, there is no “margin” for something which catches the passion of participants to spill over into. There is no time for unanticipated contingencies or for people to reflect on what is happening. 

Similarly, a space (whether computer memory or physical space) that is completely “taken up” with data or things becomes inflexible. In extreme cases, nothing can be done because there is no room to move things. 

Photo by cottonbro on Pexels.com

When I was a kid, I used to enjoy puzzles that consisted of 15 square pieces and one blank space. The idea was to move the pieces around until the pieces were arranged into a particular numeric sequence (or made a picture). It’s immediately obvious that if there is no space, there is no way to move the pieces and whatever order they are in is the order that they will stay in. 

It seems that people who want to control everything want exactly that — no space — no void — no possibility for change. It may be related to the mystery of overworking so many people with long hours despite decades of research showing people are more productive with shorter hours. 

In a living human being, there is typically “space” in our respiratory system and our digestive system. To have zero space means we cannot eat and we cannot breathe. We do have spaces within our body — ventricles in the brain, sinuses in the head, and — crucially — females have a place that can accommodate the creation of a new life within. 

A hive, or a garden, or a city may indeed be crowded, but if it literally has zero space, it dies, just as we would. The void allows flow — in the case of the individual human body, space allows for the flow of food and the flow of air. 

A science that has no void, no space, has no flexibility. It is no longer science but dogma. 

A budget with no space, no void, means every penny has been pre-assigned and this is not an effective way to budget. 

Games typically have space (Go, Chess, Checkers, Monopoly) as do sports (Tennis, Baseball, Soccer, Basketball). Play often consist of using, changing, and manipulating space. The baseball pitcher tries to throw the ball so that it crosses through spaces where the hitter cannot easily hit it well. The hitter tried to hit the ball where the fielders cannot reach the ball. The tennis player tries to “build a point” by creating more space; e.g., by pulling their opponent progressively wider so that a shot can be hit into such a large space that it cannot be reached at all. In most games and sports, the amount of empty space, particularly at the beginning of play is relatively large. In chess, as in American football, play begins with a large space between the teams. In many games, there are special terms for spaces. A “Luft” in chess is a place for your King to go if attacked on the back rank by a queen or rook. In American football, the quarterback throws passes from the “pocket” which is supposed to protect them from tacklers.  

Under Umbrage, everything living and loving was smothered by a rule, or at least she wished it were.

To me, “The Void” connotes more than space, however. “The Void” seems to refer to a relatively large, concentrated space. In music, for example, without any space, there is just a long, annoying noise. But “The Void” isn’t just the space between notes. It seems as though it must be a significant silence such as after the tuning and before the first note is played or the space between movements in a symphony. 

Of course, we can contemplate things at different scales. If we see Alternating Repetition from a distance that allows us to see the alternating repetition, we might see gaps as spaces, but not as examples of “The Void.” If we moved our point of view so that only one such gap were visible, it might become an example of “The Void” at that closer-in scale. 

Most of our everyday reality is physically made up of empty space. Every atom is more than 99.999 % empty space. At that scale, it’s mostly void or at least mostly space. And, at the other extreme, although it may seem that space is crowded when you see the Starship Enterprise go through the universe at “Warp 9” that’s an illusion to make it more interesting. Most of the universe (and our solar system) is empty space. The sun which is by far the largest object in our solar system has a diameter of 865,000 miles. That’s big! But the nearest planet, Mercury, is 40 million miles away. And, that planet is the only thing in such a close orbit. 

Once I was driving with my family from San Francisco to Salt Lake City. Around 3 am, in the absolute middle of nowhere with no lights and no moon, I stopped the car and ran a quarter mile from the road into the desert to look up at the stars. It doesn’t “look” empty of course. Far from it. Yet the sheer blackness of the background and the vastness of it made it seem like a true void. In fact, because of contrast with the sharp and sparkling stars, the vast void was made into even more of a vast void. 

An atrium, a central courtyard, a reflecting pool — can these be voids that strengthen the center? 

If we look at a void, does that produce a different aesthetic feeling from when we are in a void that surrounds us? If you and your family or friends or tribe huddle around a campfire at night, the fire is a center. You can see the faces of people in the firelight. But you are aware that each of you knows that surrounding your little group is darkness. Sometimes, in movies, someone will remark, “Well, it’s quiet.” To which, the proper response is, “Yeah. Too quiet!” When the frogs and crickets stop making noise, the heaviness of the silence becomes oppressive. It might mean that large predators are about, each with their own maw of void. Being in a large space that has no perceptible features is awe-inspiring or even fear-inspiring. Looking at a large space that is situated in the context of a pattern may echo that feeling slightly, but to me, it feels very different. 

The same tune can be played on a piccolo or a base vile. 

When it comes to user experience, what comes to mind for me is the empty page or the empty canvas or the empty spreadsheet. These are large unfilled spaces. To compose, whatever the medium, requires of us a kind of courage. We must “enter” the empty space. In order to write, we must also allow for empty space within us. As I write, I find that there is always a rhythm of “describing” things that have “come up” for explication and then pausing — staring as it were into the blackness, the void, of my own consciousness. I allow things to arise from that inner void and show themselves. I don’t know what it will be. 

I think that process (and not wanting it disrupted) is one reason that I, like so many others, found “Clippy” to be so annoying. Whenever I was allowing for the void to reveal to me what I wanted to say, “Clippy” would imagine I was stuck and offer a suggestion (invariably irrelevant). 

Perhaps you or one of your kids has played “8-ball.” You ask it a question then you shake it a little and an answer “appears” in a little window. The most enthralling time is that space between when you ask the question and the answer appears. Of course, it’s fun thinking of the questions and interpreting the answers, but the most dramatic part is waiting for the answer to appear. In that moment, you may suddenly realize what answer you want to appear.

Photo by Monica Silvestre on Pexels.com

 

If an application is to support any kind of creative activity, it should not “rush” the user and it should provide the user empty space in which to create. That emptiness can be intimidating, but I still think it’s necessary. 

My desktop has many icons, tool bars, and windows. The only true void is the blank part of the writing pane in Pages. Visually, since the blank part of the page is white, it doesn’t seem much like a void. There is enough space between the icons and menu items to make them legible, but there is no “void” there. Visually, the only thing that really strikes me as a void is the totally black rounded rectangle beside the color sphere in the Format window. It’s black because that is the color of the text I’m writing in. Its function is nothing like that of an actual void.

The void may symbolize death, but it also symbolizes life. It is the happening place. It is the dance floor. It is the game board. It is the playing field. It is waiting for the curtain to rise. It is the movie theater when the lights go out but the movie has not begun. It is also the movie theater when the credits have done rolling but before the house lights have come up. If it is death, it is also rebirth. If it is birth, it is also the end. 

As every moment of our existence and our attention becomes evermore commoditized and sold to the highest bidder, there is ever more pressure to eliminate the “wasted space” inherent in the void. 

Photo by Leonid Danilov on Pexels.com

Running into the ocean; diving into a pool; deciding to have a child; moving; divorcing; falling in love; losing a loved one; starting a composition; beginning a design — these are moments when we brush up against the void or enter it or avoid it or incorporate it into ourselves. We like to fool ourselves that there is some process or routine or formula or piece of software that can take all the uncertainty out of these transitions into the unknown.

That’s all illusion. It’s the very nature of life itself — that dance on the razor edge between chaos and repetition — to embrace the void. We try always to “avoid” The Void. 


Nature doesn’t “abhor a vacuum.” Nature is mostly vacuum.

Photo by Johannes Plenio on Pexels.com



But often, we abhor a vacuum. Our productivity tools are geared toward reducing “The Void” as much as possible. Children are shuttled from one high intensity activity to another to ensure that when they apply to college, there will be no gaps or voids in their resume. Every box should be checked. Then, they will get into a college–one which will ensure that they will get a high-paying job that will enable to them to work their entire lives so that there will be no uncertainty.

I am also a product of that “Avoid The Void” culture, so I find it hard to imagine what it would mean to design a tool or UI or app that embraced and encouraged The Void. There are some specific mobile apps that support meditation or listening to music or breathing. What of composition though? Whether it is programming, writing, drawing, or creating a business plan, is there a place for The Void to be supported? How would you encourage it? What visual elements or other sensory elements could be used to support it? How would you measure how well you did? 

Or, is it easier to avoid the whole topic? 

—————————————————-

The sound of one hand clasping 

Take a while or three

That cold walk home

Wordless perfection 

Life will find a way

The bubble people

The jewels of November

The lost sapphire 

Author Page on Amazon

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

Echoes. 

25 Friday Sep 2026

Posted by petersironwood in creativity, design rationale, essay, HCI, leadership, nature, politics, psychology, Uncategorized, user experience

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art, beauty, books, Design, empathy, HCI, human factors, leadership, painting, photography, TNOO, Travel, usability, user experience, UX

Echoes. 

Among other things, I think human beings enjoy making “connections.” That applies to interpersonal connections. It also applies to connections in our own heads. “Oh, you’re the new friend I’ve been hearing so much about.” “Oh! That’s why my omelettes always stick!” “Oh, I can move immediately after I hit the ball! I don’t have to wait and see where my opponent hits it.” In other words, we like to learn. We like to see relationships that we didn’t see before. 

I think this is why I find “Echoes” a very beautiful property in architecture, in music, in poetry, and in natural beauty. Echoes need not be perfect duplications. In most cases, it’s better if that’s not overdone. Perfect duplications at the same scale are more evocative of machinery or mass production than of natural beauty. 

At this point, I am sorely tempted to tangent off on why, when you yell into a canyon, what comes back is not a perfect duplication or the original sound waves you sent out. But I will resist. 

Even identical flowers or butterflies, when seen from different angles or distances, can provide a kind of echo effect. Photo by Cindy Gustafson on Pexels.com

When nature, or a designer, creates subtle echoes, it’s delightful because it allows us to make a connection that is “across” or “different from” the main show. For example, in poetry, one typically reads from start to finish. It is a linear experience. At the same time, there are often rhyme schemes so that words “echo” other words in an auditory sense. Poetry often uses metaphor which becomes a kind of “color scheme” for the room that particular poem created. 

In social interaction, if it is done skillfully, there are also echoes. Things are hinted at, shown only partially, or suggested. Slowly, a listener may become hooked on an attractive lure and end up swallowing, as they say, hook, line and sinker. If someone came right out and said up front, “Now look, I’d like to become dictator and what I need from you is to send me lots of money and thirdly, swallow any bull-crap I spew and actually, come to think of it, you might have to kill your granny and or your kids. On board?” No. Very few would take that on. Instead, it is hinted, intimated, insinuated that: “Everything that’s bad in your life — that’s not your fault! I know who is to blame and I can help right all those wrongs!” 

Echoes aren’t always bad in human interactions. Far from it. One of the most amazing things to observe is how a two or three person team in trivial pursuit or Who Wants to be a Millionaire throw twenty miscellaneous and various possible answers — all wrong — into the air and after  several minutes of being nowhere close to the answer, someone shouts: “The Mad Hatter!” And that is exactly right.

Photo by cottonbro on Pexels.com

In music, there are harmonies, themes, motifs, recapitulations, etc. In some musical settings such as cathedrals, the music may produce literal echoes. Regardless, themes are repeated, varied, morphed into something different and so on. 

So too, in architecture. If we try to imagine how buildings first came to be, it would be quite natural for them to have “echoes” because the entire building would be constructed of local materials. Stones, reeds, skins, bricks, logs, caves, etc. naturally lead to echoes because it’s all the same “stuff.” In modern skyscrapers however, it’s quite possible to design something with no echoes at all. The only point of the skyscraper is to be as efficient as humanly possible to make as much money as possible. What would be the point of “echoes”? Would it generate more profit? Sure, it might be an interesting experience for those who looked at our building. To which, a likely answer might be: “Who cares?” 

Photo by Laura Tancredi on Pexels.com

Isn’t it interesting that back when most people had next to nothing, they bothered to make cathedrals as beautiful as they knew how. But now that we have much, much more, we can’t spare the cash. (“We may be rich, but we are not yet the richest.”)

Photo by Julia Volk on Pexels.com

Nature is rife with echoes. Here’s one I have the privilege to witness almost every night. As the sun goes down, the light in the garden turns yellow. This means that flowers, trees, and so on will appear in higher contrast and in more golden light. A close up of white roses will look golden in the setting sun and so too will tree branches in the background. 

If you walk (or run, bike, etc.) through a garden or a forest, the experience will typically be full of echoes because you will walk by many individual oaks, beeches, roses, mayapples etc. each of which echoes to an extent all the others. In the same way that a poet puts rhyme, allusions, and other figures of speech to cause echoes both within the poem and with your memories, so too, a walk in nature will remind you of other previous experiences and of other plants and animals that you see earlier in the walk. The actions of walking themselves (or of wheeling, running, biking or cross-country skiing) are a kind of echo in much the same way that a steady rhythm in a poem causes echoes among all the stressed syllables and among all the unstressed syllables. 

—————————

Where do echoes occur in user interfaces? One of the few things that I think of are that logos associated with various pieces of software appear in different places and at different scales. For example, I recognize the small version of the Safari logo on my tool bar. To the right are open file locations in that browser. There is a small image of the landing page of each website, but each little icon also has a teeny version of the Safari logo. If I go to the Safari website, I’ll no doubt see other sizes of Safari logos. 

To the extent that developers use a common style guide, that also causes a kind of echo effect. I might see something to the right of my writing pane and say to myself:  “Ah, under ‘font’ I see a common widget next to ‘11pt’ — a widget consisting of an up and down arrow. I’ve see that before! I’ll bet I can change the font size with it. Clicking on the up arrow will make for larger font; clicking on the down arrow will make a smaller font.” 

To the extent that the use of various conventions causes correct patterns to be accessed out of my memory, those echoes seem mildly aesthetic and quite useful. Where else do you see “echoes” in user experience or in user interfaces?  Where might we include echoes in a new way that makes the user more productive? Where and how might they make the user experience richer? What might you do in your own behavior that could provide more pleasure to you and your colleagues via the use of echoes?

———————-

Listen. You can hear the echoes of your actions 

Ripples 

Myths of the Veritas: The Orange Man

True Believer

Do unto others

I can’t be bothered

Tit for Tat

It couldn’t happen to a nicer guy

Author Page on Amazon

Some suggested books. Are links themselves a kind of echo?

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

4. Alternating Repetition

14 Monday Sep 2026

Posted by petersironwood in creativity, design rationale, HCI, leadership, management, nature, psychology, Uncategorized, user experience

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aesthetics, architecture, art, beauty, Design, diversity, HCI, human factors, leadership, order, repetition, UX, writing

(This is the fourth post in a series of 15 which aim to examine the fifteen properties of natural order postulated by Christopher Alexander. I wonder whether the property of “Alternating Repetition” could be more frequently incorporated into User Experience and what the pros and cons might be).

4. Alternating Repetition

In nature, whether we look at clouds, waves, mountain ranges, forests, plants, the leaves of plants, or almost any animal, we see alternating repetition. Such natural repetition is almost never a precise and complete replication. Just as every reproductive act of life introduces an element of recombination as well as the possibility of mutation, so too the repetitions we see in life are not mathematical. We indeed see patterns repeated in a line or in a circle, but the instances in living things show variation. Similarly, human artifacts made with the hands; e.g., weaving or poetry or rock walls or tennis strokes show repetition but with slight and subtle variations. 

If you look at modern industrial society, you see many examples of exact repetition. It’s true that if you looked at 10,000 examples of the same brand and model pen, or notebook, or scissors, or streak knives under a microscope, you could likely find small differences. To the naked eye, however, they would appear identical. Seeing 10,000 pebbles, leaves, or waves you would always see slight to moderate differences. To me, it makes a difference in terms of beauty. Handmade items and human actions naturally show more variation than things produced by machines. 

Photo by Pixabay on Pexels.com

The various “elements” of a User Interface generally have the feel of something made by machine. The size of all the application icons on the tool bar, for instance, are the same. They are all almost the same exact shape and size. On my tool bar the icons for Finder, Launchpad, Mail, Safari, Chrome, FaceTime, Messenger, Maps, Photos, Contacts, Calendar, Reminders, Notes, System Preferences, Keynote, Pages, Preview, and News are the same. However, the Kindle icon is slightly larger and more square. The Zoom icon is very slightly rounder. [NOTE: This is no longer true in 2026]. The icon for Facebook is still circular, however. In other words, there is some slight variation, but mainly the icons are the same in outline, but different inside. But the set of icons on the tool bar has no sense of “harmony” whatsoever–at least, not to me.

Note that the tool bar is both abnormally homogeneous in terms of positioning and size but completely disconnected in terms of the images which differ in a random disharmony seldom exhibited in nature.

Instead, each icon seems to scream out its individuality without regard to its neighbors. (Which reminds me of things like not masking, getting vaccinations, or telling the truth, for instance, because you don’t feel like it so who cares what the consequences to others are). Anyway, the layout of the toolbar, to me, it’s reminiscent of driving down the highway and seeing a sequence of billboards, each advertising some random product or service in no particular order. Often, each billboard is the same size but they are independent of each other. The one exception I can think of were the “Burma Shave” signs along the highway. Each sign was a small rectangle with several words on it. About a quarter mile down the road, another sign would appear. They were meant to be seen in a specific order and together, they made a kind of “story” which usually rhymed. Typically, the signs touted the joys of the product — “Burma Shave” — or, provided public service announcements about safe driving. 

In the early days of computing, putting in “variation” might have been insanely wasteful of space and processing time. This is no longer true. Yet, the “look and feel” of User Interfaces remains, for the most part, quite “mechanical” or “mechanistic” rather than “natural.” Sometimes modern computer games include naturalistic looking variations in how repeated plants, rocks, clouds, etc. are represented. Look at the palm trees and you will see variations among the trees that are reminiscent of the real palm trees I see every day in the San Diego area. In addition, each tree contains a number of fronds that repeat a generic theme; yet, each front is somewhat different. The fronds themselves each contain alternating repetition, just as do real palm tree fronds. 

We might consider whether it would make sense to put more natural looking alternating repetition into the more utilitarian aspects of user experience. For example, could it be both more beautiful and more useful to allow more variation in the way files are represented visually?  Will Hill, James Hollan, Dave Wrobleski, & Tim McCandless suggested (in a CHI ’92 paper) that physical documents such as manuals naturally show wear in places where they are most used. They suggested that the visual representation of computer documents might be altered slightly to show which documents have been used or edited more and also that such cues within a document might also be useful. 

Hill, William; Hollan, James; Wrobleski, Dave; McCandless, Tim; “Edit Wear and Read Wear,” Human factors in computing systems: Striking a balance. Proceedings of the 9th annual conference. SIGCHI ’92 Proceedings (Monterey, CA), Addison-Wesley, 1992, pp. 3-9.

One of the few cookbooks I use with some regularity is entitled, Fat Free and Flavor Full. The recipe I’ve used many times is the black bean salad. If I open the physical book, it naturally falls open to that particular recipe. “Open Recent” I find a very useful features of the Pages application, but I don’t see a way to look at files based on overall frequency of use. It could be the case that there are some applications for which you would want specific files to be easily found depending on the season or the date. The authors of “Edit Wear and Read Wear” were mainly talking about the utility of encoding information about a file into its visual representation. There might well be aesthetic reasons to do so as well. 

The wooden blinds shown below exhibit alternating repetition in several ways. First, there is the matter of perspective. Some variation almost always presents itself simply by virtue of the fact that I typically view the blinds at an angle and some are closer to me than others. This means that the size, and the retinal shape are slightly different. Second, there is variation caused by slight changes in the angle of the slats relative to vertical. Third, each slat is made of wood. The wood itself shows rings (or more commonly a planar projection of the concentric cylinders. 

The wooden blinds, because they are illuminated from the outside by tree-filtered sunlight also show further variation; however I don’t think that is typically “alternating repetition.” Perhaps not coincidentally, although I find it a little interesting, I can’t say I find that source of variation to be beautiful to me. The other three all add to the aesthetics, at least to me. 

Is it feasible to introduce alternating repetition with slight variation into User Interfaces? Would it be desirable? What negative side-effects might arise? Do you even agree with Christopher Alexander that Alternating Repetition is an aspect of natural beauty and beautiful design? One thing that occurs to me is that if some element of the UI is more variable in outline etc., it may mean that the actions upon that object must deal with that variability. If designed greenfield, that might not be too difficult. But if, for example, the code for dragging and dropping was written under a presumption of zero variability, that might be problematic. What do you think?

——————-

Discussion of Alternating Repetition with additional visual examples can be found here: 

The Fifteen Fundamental Properties of Living Structure. 4. Alternating Repetition

Because Christopher Alexander wrote a book, about the 15 properties, his examples are mainly visual. But alternating repetition as an element of beauty is also clearly present in music and in dance. There is a little of it, it seems to me, in culinary arts as well. I am also reminded of the smelling actions of my dog, Sadie. As she watches an animal without charging it, she waves her nose back and forth quite deliberately in a kind of “sampling” of the surrounding air. A bear will sometimes move sideways with alternating repetition to provide better depth perception of a far away target (like me!). But that’s a story for another time.

Use Diversity as a Resource

The Tree of Life

Life is a Dance

Take a Glance; Join the Dance

Piano

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

Strong Centers

12 Saturday Sep 2026

Posted by petersironwood in creativity, design rationale, HCI, nature, psychology, Uncategorized, user experience

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aesthetics, architecture, art, beauty, Christopher Alexander., Design, HCI, human factors, usability, UX

This is the second posting in a series of fifteen which examine Christopher Alexander’s “Fifteen Properties” of natural beauty and suggests how these properties might apply to user experience design. 

Photo by Dominika Greguu0161ovu00e1 on Pexels.com

2. “Strong centers” is probably one of the most overlooked properties of design in UX/HCI. Often, what exists for the user, from their perspective, is a “sprawl” of functions, tool bars, and icons with no obvious overall or subsidiary organization. A better design would allow the user to quickly find a “home base” from which, it would be obvious where to find subsidiary home bases. There is some sense in which hyperbolic trees, fisheye lenses, and home pages partly begin to address this issue. 

Instead of “strong centers”, the impression I often get in looking at applications for word processing, organizing photos, searching, or dealing with settings is that the designers are given or generate a long list of functions to be supported. Which ones are related to which though? Which ones are central? In many cases, UX practitioners give users (or, more often, potential users), a set of cards with one function each and ask the users to sort these into piles. I am not against such studies, but they are unlikely to lead to a coherent design with a strong center. The users are not, in most cases, professional designers. In many cases, an application is supposed to support many different specific actions. For example, I use word processors to write essays, poems, and fiction. I also use a word processor to proofread something, to re-organize ideas, to “jot down” a bunch of ideas, or to write an outline. These are very different tasks, at least to me. If asked to sort cards, I would do it differently depending on which type of task and which type of material I’m thinking about. 

As I type this, I glance at the “Pages” tool bar which includes: Pages, File, Edit, Insert, Format, Arrange, View, Share, Window, and Help. None of these seems like “home” to the task of writing an essay. I know from experience that if I want to write any kind of material, I must go to the “File” menu even though, as best I can recall, my initial impression of this label was that it would be something to do after I was “done” with the tasks of composing and proofreading. The toolbar gives no impression of their being any “center” at all, let alone a “strong center.” 

In my native language (English), I read from top to bottom, left to right. In that sense, the Apple Icon is first and the “Pages” item is next and it is in bold print. That could be considered a subtle clue that it’s the “most important.” In a way, the items on the “Pages” menu are “meta-items.” In that sense, I suppose you could argue that they are “important” — though as a writer, none of the items seem that important. In fact, if we get right down to it, nothing in Pages really seems designed to support the actual writing process. And, I’m not trying to single out Pages because it’s the only one or the worst one. Lack of a “strong center” seems true of nearly all applications. 

Different people use different processes for writing — and I myself use different processes for different types of writing, so perhaps trying to organize the features and functions so that there is a “strong center”reflective of the “strong center” of the task of writing is just not feasible. I am certainly not advocating for resurrecting “Clippy.” 

Ideally, it should be possible for users to “know where the action is” upon entering an application or a web page.

In another interpretation, “strong centers” refers more to underlying architecture and points to the need for a core of functionality that transcends a specific release or even a specific application. A good underlying architecture will communicate this essential center (related to central purpose or style) to the user.

All too often, the processes involved in developing an application or system themselves have no “strong center.” If the development process is itself a hodgepodge political process of accommodating to a portfolio of features and functions that are advocated for by diverse and uncoordinated stakeholders, then, what one has are a long, unorganized list artificially shoved into menus and sub-menus and toolbars. It should not be surprising then, that the user finds it difficult to know where to begin when first encountering an application — even if the user knows exactly what they want to accomplish. 

Compare and contrast most menu structures and user interfaces with the “strong centers” that are extremely common in life forms. Here are some examples of butterflies. 

Photo by Cu00e1tia Matos on Pexels.com

The central axis includes the head, the thorax and the abdomen. These are in a line in the strong center. Typically, they are colored differently from the wings. The bilateral symmetry of the wings as well as the overall shape reinforces the strong center. Wing patterns, and even the antennae and legs lead the eye back to the strong center. 

Most people think of butterflies as beautiful — and I agree. When asked, however, most people will say they are “brightly colored.” Some are; some are not. But “bright colors” don’t necessarily give rise to beauty!

Strong Centers doesn’t just apply to butterflies. Look at most birds, fish, mammals, insects and you will see how the symmetries and smaller centers reflect and strengthen the major center. Indeed, Strong Centers are not limited to the animal kingdom. The trunk of a tree provides a strong center. Each branch is itself a center and the connection of the branches to the trunk reinforces the strength of the central trunk. 

Photo by Snapwire on Pexels.com

Even single cells often exhibit strong centers (and many of the other 15 properties, by the way). 

It would love to be able to provide you with a process or checklist or formula so you could design user experiences with “strong centers.” I cannot really do that. Nor can anyone else. If you keep it in mind, even at the back of your mind, you may see opportunities to help make that happen with regard to whatever you’re working on. I’m curious to hear your thoughts about “Strong Centers.” 

One technique that may be of some use was shared at a workshop by someone who worked at a car company. In the design of a specific car, the team decided the car would reflect “a professional soccer player out for a night on the town.” This is obviously not a “formula” or “checklist” but it offers a metaphor that designers of car interiors, exteriors, and the drive train could all relate to. A similar method is sometimes used in film — some specific person is responsible for the artistic integrity of the whole.

There is no one way to produce strong centers. Here are some examples from flowers.

———————

Here we see that each flower has a strong center and the central stem provides a strong center for the entire plant.

Some useful links to more information, discussion, and examples relevant to “strong centers” or to the fifteen properties.

Christopher Alexander – Fundamental Property 2: Strong Centers

https://www.archdaily.com/626429/unified-architectural-theory-chapter-11

Roar, Ocean, Roar!

Imagine All the People

The Dance of Billions

Somewhere a Bird Cries

How the Nightingale Learned to Sing

Piano!

Unite!

Fifteen Properties of Natural Beauty & UX/HCI

09 Wednesday Sep 2026

Posted by petersironwood in creativity, design rationale, HCI, nature, psychology, Uncategorized, user experience

≈ 1 Comment

Tags

architecture, art, books, Design, gratitude, HCI, human factors, mindfulness, photography, Travel, UX

Photo by Dominika Greguu0161ovu00e1 on Pexels.com

This is an introduction to a series of blog posts on the “Nature of Beauty.” 

Christopher Alexander was an architect and city planner. In his MIT dissertation, Alexander took a very mathematical approach to design. In our studies at IBM Research on the “Psychology of Design” I first ran across that work (Notes on the Synthesis of Form). Later in his career, however, he took a quite different approach to design. With an international team, he visited many different parts of the world to see what “worked” in terms of architecture and city planning. The results were documented in the form of a “Pattern Language.” In this sense, a “Pattern” is the named solution to a recurring problem. A “Pattern Language” is a connected lattice of Patterns that together, “cover” a field. 

Others (including me) have emulated his approach for other fields such as pedagogy, organizational change, object-oriented programming, software development processes, and human-computer interaction. A few years ago, I suggested such Patterns for collaboration and teamwork. Here’s a link to the introduction of that effort. Here’s a link to the index of those Patterns. 

Still later in life, Christopher Alexander embarked on a project called The Nature of Order. This work is documented in a series of four books. In the first book, he proposes fifteen properties of good form in nature — and in beautiful artifacts. Explication and example will be needed to appreciate what these properties mean. In this post, I list the fifteen and will attempt to explain the first one with respect to UX and Human Computer Interaction.

OLYMPUS DIGITAL CAMERA

First, you might be wondering what relevance these fifteen properties of nature might have to interface design. After all, can’t the designer just test out their ideas empirically until a UX design is shown to be usable, learnable, and perhaps enjoyable as well? Well, sure. Ideally, every possibility could be explored and tested empirically. 

But how many possibilities are there? Without any guiding principles, there are not only more possibilities than can be tested by you. There are more possibilities than there are atoms in the universe. Imagine a very simple interface on a small mobile device. Let’s say there are only ten screens in your whole application. The iPhone 12, for instance, has nearly 3 million pixels. 24-bit color allows over 16 million colors per pixel. If you literally tested out every possible arrangement, this would mean 16 million to the 3 millionth power for each of the ten screens!! The number of atoms in the universe is estimated to be between 10**78 and 10**82. Obviously, this is far less than 16,000,000**3,000,000 !! 

Of course, I’m not suggesting that anyone would attempt a pixel by pixel test of an interface, but the general point remains: you need some way to limit testing to reasonable alternatives. The notion of using these fifteen properties is not that they dictate a particular design nor that you don’t need to do any empirical testing. Rather, the fifteen properties could be used to help guide design. The properties could be thought of as reducing the search space. 

Here are the fifteen properties: 

  1. Levels of Scale
  2. Strong Centers
  3. Boundaries
  4. Alternating Repetition
  5. Positive Space
  6. Good Shape
  7. Local Symmetries
  8. Deep Interlock and Ambiguity
  9. Contrast
  10. Gradients
  11. Roughness
  12. Echoes
  13. The Void
  14. Simplicity and Inner Calm
  15. Not-separateness

Perhaps the names themselves might resonate with your own sense of aesthetics for design and composition, but let’s review them one by one. 

The first is “Levels of Scale.” 

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When it comes to natural beauty, a few moments reflection may provide you with many examples. Christopher Alexander claims this property is also present in traditional art and architecture across many cultures. As you see something such as, e.g., the Taj Mahal or the Parthenon in the distance, you see a beautiful shape. As you approach it, you will see more and more levels of scale. By contrast, many modern buildings are largely featureless between the overall shape and the texture of the building material. 

If your design has multiple levels of scale, it will be easier for your user to orient themselves; to know “where they are” in the application and therefore easier to take appropriate action. Not only are you making their “task” more doable, you are providing a kind of entertainment. If it works well, they will be thinking of the building and perhaps its significance the entire time they approach the building. By contrast, if I approach a modern no-scales building, I bore quickly and, like most people, there are a whole host of things waiting to be thought about. So, I’ll mainly be thinking of one or my problems and largely ignoring your building and what it stands for. Reflect on your own experiences and see whether you agree. Lincoln Memorial, Winchester Cathedral, Temple in Kyoto: they are completely different from each other and yet in this way, they are all the same: they keep your attention focused on the moment. In other words, they help you be fully alive and awake. In the best circumstance, they also elicit some awe and gratitude not only for the geniuses who designed but also for the many laborers who found and mined the materials, constructed something from it, and even those whose taxes paid those workers.

Levels of Scale is something to keep in mind with respect to your design — whether hardware, software, documentation, story, or a building. 

How could you use or see “Levels of Scale” as a desirable property of what you are doing right now? 

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Some references to Pattern Languages in HCI. 

Pan, Y., Roedl, D., Blevis, E. and Thomas, J. (2012), Re-conceptualizing Fashion in Sustainable HCI. Designing Interactive Systems conference.  New Castle, UK, June 2012.

Thomas, J. C. (2012).   Patterns for emergent global intelligence.   In Creativity and Rationale: Enhancing Human Experience By Design J. Carroll (Ed.), New York: Springer.

Thomas, J. (2012). Edging Toward Sustainability. CHI Workshop Position Paper for Simple Sustainable Living. CHI 2012, Austin, Texas.

Thomas, J. (2012), Enhancing Collective Intelligence by Enhancing Social Roles and Diversity. CSCW Workshop Position Paper for Collective Intelligence and Community Discourse and Action. CSCW 2012, Bellvue, WA.

Thomas, J. (2011), Toward a pattern language for socializing technology for seniors. Workshop position paper accepted for CSCW 2011 workshop: Socializing technology among seniors in China, Hangzhou, China, March 19-23.

Thomas, J. (2011). Toward a Socio-Technical Pattern Language for Social Systems in China and the World. Workshop position paper accepted for CSCW 2011 workshop: Designing social and collaborative systems for China. Hangzhou, China, March 19-23.

Thomas, J. (2011). Toward a Socio-Technical Pattern Language for Social Media and International Development. Workshop position paper accepted for CSCW 2011 workshop: Social media for development, Hangzhou, China, March 19-23.

Bonanni, L., Busse, D. Thomas, J., Bevis, E., Turpeinen, M. & Jardin, N. (2011). Visible, actionalble, sustainable: Sustainable interactin design in professional domains.  Workshop accepted for CHI 2011. Vancouver, B.C., May 7-12.

Thomas, J. (2011). Focus on Ego as Universe and Everyday Sustainability. Workshop position paper accepted for CHI 2011 workshop: Everyday practice and sustainable HCI: Understanding and learning from cultures of (un)sustainability.  Vancouver, B.C., May 7-12.

https://www.researchgate.net/publication/2242380_A_Pattern_Approach_to_Interaction_Design

Click to access dearden-patterns-hci09.pdf

https://www.mit.edu/~jtidwell/common_ground.html

Thomas, J. C. (2018), Building common ground in a wildly webbed world: a pattern language approach. Journal of Information, Communication and Ethics in Society, 16 (3), 338-350.

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Some recommended books:

The Winning Weekend Warrior focuses on the mental game for all sports using examples from tennis, golf, baseball, and other sports. It covers self-talk, imagery, mental practice, strategy, tactics, & sportsmanship. http://tinyurl.com/ng2heq3

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

Fit in Bits shows many ways to put more fun, variety, & exercise into daily chores and habits to help with strength, flexibility, fitness, and balance. http://tinyurl.com/h6c7fce

Tales from an American Childhood recounts early experiences mainly in the American Midwest in the 1950’s and relates them to contemporary issues and events. https://tinyurl.com/y9ajvz9j

Dream Planet. Where do you run when the whole world is crumbling under the weight of human folly? When the lethal Conformers invade 22nd century Pittsburgh, escape becomes the top priority for lovebird scavengers Alex and Eva.

https://www.barnesandnoble.com/w/dream-planet-david-thomas/1148566558

The Walkabout Diaries are photo-essays inspired by walks in nearby neighborhoods, gardens, and parks.

The Walkabout Diaries

Query By Example

08 Tuesday Sep 2026

Posted by petersironwood in Uncategorized, psychology, management, science, design rationale, user experience, HCI, AI, leadership

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AI, Artificial Intelligence, expertise, HCI, human factors, IBM, leadership, QBE, research, technology, usability, UX, writing

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This is part of a series on experiences in my career in Human Computer Interaction and some lessons learned.

I joined IBM Research on the winter solstice of 1973. I had earned a Ph.D. in Experimental Psychology from the University of Michigan and for the previous few years, I had managed a research project at Harvard Medical School on the “Psychology of Aging.” At the time, I was married and had three small children. I mention this because I was funded by so-called “soft money” which basically meant that my salary depended on a research grant. I helped write a renewal of the grant but the decision was “deferred”; that is, it was neither funded nor unfunded. Then, it was deferred again. This meant that if the grant were not funded, I would only have a few weeks to find a new job. That seemed far too short so I began to look other places for a job. 

Lessons Learned: #1 If you want continuity of personnel in your laboratory, make sure you have overlapping and multiple grants or other sources of income. 

In this case, the grant actually was ultimately approved, but by that time, I had already agreed to join IBM Research. That turned out to be fine, by the way. It was a wonderful place to work.

One of the reasons that I got the job at IBM was that I already knew something about computers. I had taken several computer science courses in grad school along with the needed psych courses. More importantly, our “Psychology of Aging” study was run by a PDP-8 and I had programmed the computer to run our suite of experiments and to do data analyses on the results. I had taken a week-long course at DEC in Maynard, Massachusetts on the assembly language, another week-long course on the machine language, and another week-long course actually tracing the circuitry with a probe and oscilloscope. I felt I “understood” the PDP-8 at a fairly deep level. 

At IBM, I did not have that familiar machine. Instead, I was connected to a mainframe via a dumb terminal. The first day at IBM, I got my userid and tried to log on to APL (A programming language I had not used before). I tried following the manual but I could not seem to get logged on. After hours of trying, I finally gave up and went down to the computer room and found someone willing to help. I showed him the logon instructions I was trying to follow and he immediately said, “Oh, yeah, that doesn’t work any more. We changed that months ago. Here’s how you need to do it now.” The manual I had may have looked new, but it was out of date. 

Lessons Learned: #2 Manuals can be wrong. These days, most are online. But they can still be wrong.

Lessons Learned: #3 Someone who knows how to do something can save you hours with a few minutes of their time. 

Of course, it’s more respectful, efficient, and a better learning experience if you can figure it out on your own. But sometimes you can’t. My stumbling block was not due to an error in logic, or a lack of in-depth knowledge. It was simply that the computer center administrators had changed something arbitrary so that the documentation I was given about how to log on for the first time was no longer accurate. 

In order to teach myself APL, I wrote a very small program to “predict” how long I was going to live “based on” some behaviors that I was interested in controlling. My main goal was to learn APL. My secondary goal was to motivate myself, for instance, to exercise more, lose weight, and not drink too much alcohol. I had no intention or pretensions of making this prediction “accurate.” If I had been doing a consulting gig for an insurance company setting life insurance rates, for example, I would have given far more attention to see precisely what the real data were and incorporated many more variables into the regression model. 

Here’s a link, 

https://www.death-clock.org

by the way, to a more accurate model than the one I used, but it’s still simple to use. Note that my goal was to motivate myself and so I intentionally exaggerated the impact of those behaviors I was trying to change. I had programmed it. I knew how “bogus” the calculation was — nonetheless — here’s the interesting thing though: 

Lessons Learned #4: Even an over-simple model that the user knows is over-simple can still motivate change. 

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At last we come to the actual project I worked on — the usability and learnability of Query By Example. One of my colleagues, Moshe Zloof, invented the language for relational data bases. He had designed the language but not yet implemented it. I did not immediately test the design; first, I sought to understand it. In seeking to understand it in depth, prior to testing it, the two of us had some sense-making discussions. Moshe improved the design; in particular, our discussions uncovered some ambiguities and inconsistencies that were not at all obvious when he simply gave talks about the design. This brings me to the next lesson learned which has proven true in nearly every study of early stage designs that I’ve been involved with over the course of six decades.

Lessons Learned #5: Don’t just accept a surface description of something; understand it as deeply as you can before designing a study.  

In this particular case, it was possible for me to understand it in some depth. Relational data bases and second order logic are things I was capable of understanding. If it had been an interface to running a nuclear reactor or using the artificial heart that Moshe had designed earlier in his career, that would have been a much more difficult task for me.

I wanted to understand, not just the “logic” of Query By Example, but also possible contexts of use. For instance, my manager & I visited Burlington, Vermont to talk with IBMer’s who actually used query languages to understand what was happening in chip production lines. At one point, a particular production line that had been producing nearly 100% perfect chips starting having a much higher error rate. Using their query facility, they were quickly able to diagnose the cause of the change which was a supplier of one of the raw materials using a different source. In turn, this meant a slightly different profile of trace impurities in the substrate. Of course, this is only one example, but to me, understanding something in depth means not only understanding its internal logic but also understanding real users, their real tasks, and their context of use. 

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I won’t go into all the details of the pencil & paper study or the results. High School students and then college students were taught the basics of the language and then given a simple relational data base and a set of questions stated in English which they had to translate into Query By Example. Briefly, the bottom line was that Query By Example was easy to learn and easy to use. However, there were still questions that people had difficulty with. In analyzing the data and doing some further experiments, the difficulties that people tended to have, stemmed not so much from Query By Example per se, but from what I much later came to call “labelism” — that is, confusing a label with the thing that label refers to. 

Here’s a simple example of the type of confusion we saw. In Query By Example (and other query languages) there is usually an OR operator and an AND operator. (These operators can be important for doing advanced queries with search engines as well). If you are interested in getting a list of pets you might adopt and you’re willing to adopt dogs or cats, you might ask for “cat OR dog.”  If you only want long-haired cats, you might ask for “cat” AND “long hair.” 

English, however, can be tricky.

If you and I (as opposed to you and a query language) are having a conversation, you might say, “I hear there are many pets that need to be adopted.” 

I say, “Yes, there are all kinds of pets. There are snakes, dogs, turtles, rabbits, cats…” 

You say, “Let me stop you right there. I’m only interested in adopting cats and dogs. Those are the only animals I’d want to adopt.” 

See what you said there? You exact words included: “…cats and dog.” If you put “Cats AND dogs” into a query against the data base of available pets, however, you will get the null set (that is, nothing) back. There are no animals who are both cats and dogs! (Though my part Main Coon cats, Luna and Charles Wallace, can play fetch like dogs). 

When people were presented with an English statement that included the English word “and” — regardless of the actual syntax and context, some of them had difficulty using the OR operator. If instead, the query in English had set up like this: “Oh, I don’t want reptiles. I’d be happy with adopting a cat or a dog, however” then, they’d have no problem translating it into the OR operator in the query language. 

Lessons Learned: #6 Sometimes the difficulty people have in using a product, a service, or a prototype is not due to the interface details but with the structure of the task, their background, and their training.  

By analogy, you will not allow me to beat Carlos Alcaraz or Jannik Sinner at tennis by giving me a better tennis racquet! (Although if you gave one of them a toothpick for a tennis racquet, I might have a shot).

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That sounds obvious and even absurd, but I promise you, some companies get so greedy that they want you to design a system that allows people who do not understand the task and have minimal background and training to nonetheless be able to perform that task. And, to be fair, it isn’t just the companies who are greedy. They are steered into thinking that they can get away with this absurdity because some outsourcing companies (and more recently, AI companies) tell them they can do it.

One example you may have encountered is having “help desk” personnel who have no understanding of a product go through a script to help you “solve your problem.” Sometimes, it works. But many times it doesn’t. When it does not work, you might not be able to “fix” the system by making the interface to the scripts easier to use for the help desk folks. The problem is much deeper (in some cases). Yes, a really bad interface can make it difficult even for a really knowledgeable and capable person to do the job. But often, even a really great interface cannot always substitute for actual expertise.

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Essays on America: Labelism 

Other posts on problem formulation: 

The Doorbell’s Ringing

Reframing the Problem

I Say Hello

I Went in Seeking Clarity

Who Knows What?

Measure for Measure

Labelism

Destroying Natural Intelligence

Some relevant Books I recommend:

Turing’s Nightmares explores the implications and ethics of Artificial Intelligence through fictional short stories. http://tinyurl.com/hz6dg2d

https://us.macmillan.com/books/9780374619336/enshittification

https://us.macmillan.com/books/9780374621575/thereversecentaursguidetolifeafterai

“The Psychology of Design”

22 Wednesday Jul 2026

Posted by petersironwood in creativity, design rationale, HCI, management, politics, psychology, science, Uncategorized, user experience

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AI, creativity, Design, education, HCI, human factors, IBM, leadership, research, technology, UX

“The Psychology of Design” 

I worked at IBM, all told, about 28 years. During that time, management put increasing pressure on us to make our work “relevant” to the business. In fact, the pressure was always there, even from the beginning. Over the years, however, we were “encouraged” to shorten evermore the time gap between doing the research and having the results of that research impact the bottom line. This was not an IBM-only phenomenon. 

I was a researcher, not a politician, but it seemed to me that at the same time researchers in industrial labs were put under pressure to produce results that could be seen in terms of share price (and therefore payouts to executives in terms of stock options), academia was also experiencing more and more pressure to publish more studies more quickly — and to make sure “intellectual property” was protected to make sure the university could monetize your work. This was about the same time that, at least in America, increasing productivity and the wealth that sprung from that increased productivity stopped being shared between the workers and the owners.

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In the late 1970’s, the “Behavioral Sciences” group at IBM Research began to study the “psychology of design.” For the first few months, this was an extremely pleasurable & productive group, due mainly to  my colleagues. Over the next few blogs, I’ll focus on some specific techniques and methods that you may find useful in your own work. 

In this short recounting though, I want to focus instead on some broader issues relevant to “technology transfer”, “leadership” and “management.” Even if you are or aspire to be an expert in UX or HCI or design, I assure you that these broader issues will impact you, your work and your career. I wouldn’t suggest becoming obsessed with them, but being aware of their potential impact could help you in your own work and career. 

It is telling that, almost invariably, whenever I told someone inside IBM (or, for that matter, outside IBM) that I was studying the “psychology of design,” people responded by asking, “the design of what?” So, I would explain that we were interested in the generic processes of design and how to improve them. I would explain that we were interested in understanding, predicting, and controlling these processes to enable them to be more effective. I would explain that we could apply these findings to any kind of design: software design, hardware design, organizational design, and (see last post about IBM) communication design. I would explain that design was a quintessentially human activity. I would also explain that design was an incredibly leveraged activity to improve. 

Looking back on it, I still think all these things are true. I also see that I missed the “signal” people were giving me that, while I thought of design as something that could be studied as a process, that most people did not think of it that way. To them, it was never the “psychology of design,” but only the design of something. 

Don’t get me wrong. I agree that somewhat different skills are involved in designing a great advertising campaign, a great building, and a great application. I agree that different communities of practice treat various common issues differently. I still think it’s worth studying commonalities across domains. For one thing, we may find an excellent way of generating ideas, say, that the advertising community of practice uses that neither architects nor applications developers had ever tried. Or, vice versa.

My own academic background was in “Experimental Psychology.” We were forever doing experiments that we believed were about psychological processes that were thought to be invariant regardless of the domain. It was an axiom of our whole enterprise that studying memory for any one thing also shed light on how we remember every other thing. Similar studies looked at decision making or problem solving or multi-tasking. We came to understand that there were some interesting exceptions to being able to separate content from process. For instance, it is much easier to multi-task a spatial task and a verbal task than it is to multi-task two independent spatial tasks or two independent verbal tasks. 

In our Behavioral Sciences lab, we used a spectrum of techniques to study “design” ranging from laboratory studies of toy problems, to observing people doing real-world design problems while thinking aloud. After about 3-4 months of very productive work, we were told that we had to make our work relevant to software development. That one domain should be the focus of our work. We were told that this command came from higher-ups in IBM. That might have been true, or perhaps partly true. 

It might also be relevant that someone in our management chain might have been the recipient of a grant from ONR which was specifically focused on software development. So far as I can tell, nothing had been done on that grant. So, our past, present, and future work could have been co-opted to be “results” done under the auspices of the ONR grant. 

In any case, regardless of the “reasons,” the group began to focus specifically on software design. In one study, we used IBM software experts as subjects. Each person was given information that was geared toward a specific transformation that occurred in software development. One person was presented with the description of a “situation” that included a number of “issues” and they were asked to write a requirements document. In real life, I would hope that this would be done in a dialogue (and, indeed, in other studies, we recorded such dialogues). Absent such dialogues, what we found was that different software experts — all from IBM research — and all given the same documentation about a set of problems generated vastly different problem statements and overall approaches. 

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In other parts of the study, other experts were variously given requirements documents and asked to do an overall, high level system design, or given a high level design and asked to design an algorithm, or given an algorithm and asked to code a section. There was always diversity but the initial phases showed the greatest diversity of behavior. The initial stage is also the one that can cause the most expensive errors. If you begin with a faulty set of requirements — a misreading about how to even go about the problem — then, the overall project is almost certain to incur schedule slip, cost overruns, or outright failure. 

While the vital importance of the initial stages of design is true in software development, I would argue that it is likely also true for advertising campaigns, building designs — and even true for the design of research programs. We designed our research agenda under the assumption that we had a long time; that we were studying design processes independently of specific communities of practice or the nature of the problems people were attempting to address. We assumed that there was no “hidden agenda.” Although we believed we would eventually need to show some relevance to IBM business, we had no idea, when we began, that only relevance to software design would be “counted.”



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Some of our studies on the “Psychology of Design.” 

Carroll, J. and Thomas, J.C. (1982). Metaphor and the cognitive representation of computer systems. IEEE Transactions on Man, Systems, and Cybernetics., SMC-12 (2), pp. 107-116.

Thomas, J.C. and Carroll, J. (1981). Human factors in communication. IBM Systems Journal, 20 (2), pp. 237-263.

Thomas, J.C. (1980). The computer as an active communication medium. Invited paper, Association for Computational Linguistics, Philadelphia, June 1980. Proceedings of the 18th Annual Meeting of the Association for Computational Linguistics., pp. 83-86.

Malhotra, A., Thomas, J.C. and Miller, L. (1980). Cognitive processes in design. International Journal of Man-Machine Studies, 12, pp. 119-140.

Carroll, J., Thomas, J.C. and Malhotra, A. (1980). Presentation and representation in design problem solving. British Journal of Psychology/,71 (1), pp. 143-155.

Carroll, J., Thomas, J.C. and Malhotra, A. (1979). A clinical-experimental analysis of design problem solving. Design Studies, 1 (2), pp. 84-92.

Thomas, J.C. (1978). A design-interpretation analysis of natural English. International Journal of Man-Machine Studies, 10, pp. 651-668.

Thomas, J.C. and Carroll, J. (1978). The psychological study of design. Design Studies, 1 (1), pp. 5-11.

Miller, L.A. and Thomas, J.C. (1977). Behavioral issues in the use of interactive systems: Part I. General issues. International Journal of Man-Machine Studies, 9 (5), pp. 509-536.

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Blog posts about the importance of solving the “right” problem. 

The Doorbell’s Ringing. Can you get it?

https://petersironwood.com/2021/01/13/reframing-the-problem-paperwork-working-paper/

Problem Framing. Good Point. 

https://petersironwood.com/2021/01/16/i-say-hello-you-say-what-city-please/

Problem formulation: Who knows what. 

How to frame your own hamster wheel.

The slow seeming snapping turtle. 

Author Page on Amazon. 

Career Advice from Polonius

07 Tuesday Jul 2026

Posted by petersironwood in Uncategorized, psychology, creativity, essay, user experience

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career, education, HCI, human factors, learning, life, mental-health, usability, UX, work, writing

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Career Advice from Polonius: To Thine Own Self be True

“To thine own self be true.” This advice comes from Polonius who is giving advice to his son in Act I, scene 3 of Shakespeare’s Hamlet. 

Polonius says: “This above all: to thine own self be true. And it must follow, as the night the day, Thou canst not then be false to any man.”

Let’s focus on the first part. 

One of the dreams of education is to customize teaching to the specific learning style(s) of individual students. This was a hot topic when I was in graduate school.

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Around 50 years ago. And it still is.

Some day, your grandchildren or your great-grandchildren may be the beneficiaries of learning experiences that are individualized to their specific styles. I wouldn’t hold my breath, but it could happen. It isn’t only a question of research on what various styles are and how to present material that resonates with these various styles. There is also the question of priorities and dollars and personnel. 

But meanwhile, here’s the good news. You don’t have to wait for another 50 years of research and a reshuffling of priorities so folx spend more money on education and less on, let’s say, cosmetics and professional sports. As I say, don’t hold your breath.

But let’s get back to the good news. The good news is that you can discover for yourself how to maximize your own learning as well as what your particular talents are. 

One cautionary note: Don’t be a jerk about it. If you’re in a group dealing with grief, don’t say, “Well, I learn best if a subject is reduced to a few hundred polynomial formulae. So, let’s start right there. Let’s reduce grief to three dimensions. Later, of course, we can do a proper multidimensional scaling exercise to determine the optimal number of dimensions.”

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No. Don’t say that. Of course, you’re free to suggest that approach, but chances are, in that situation, and in most realistic group situations, you will be treated to information in the same manner as many others who have different styles from yours.

However, in many situations, you are, far and away the main important stakeholder. You can use your knowledge of how things work for you in order to strategize and plan how you will learn about things. You can organize and arrange your work so you’ll be more productive. 

Here’s a trivial example. I have learned that my eyes have a wisdom of their own. If, for instance, I’m going out for a walk around the garden to take some pictures of the sunset on the flowers, I grab my stuff and find myself turning and staring at the hat-rack on the way out the door. When I was younger, I would ignore this. But what I have learned is that my eyes are really good at knowing what to look at. So, even if I’m in a hurry, I take a moment to reflect on why my eyes are looking there. And, then, it comes to me. I’ll do better if I wear a brimmed hat to keep the sun out of my eyes while I look at my iPhone.



By paying attention to this little quirk, I’ve saved myself a lot of grief over the years; e.g., not left the house without my wallet, etc.

Here’s another example. I’m very good at seeing “patterns” emerge from a small number of examples or when there is considerable noise involved. This serves me well as my hearing diminishes because I can use top-down processing. Generally, but not always, I understand what people are saying. On the other hand, if I try to listen to a foreign language tape that is only isolated audio words, I have no hope of knowing what they are saying. “Key” “Tee”, “Pea”, sound exactly the same.

Seeing patterns easily is generally a nice capacity. However, I’m horrible at finding my own typos immediately after I write something. I actually “see” what I meant to type. A week later, I’m pretty good at catching the errors. If I had more patience, I would wait a week to proofread for every blog post, but being patient isn’t a strength of mine either. I do go back over old posts occasionally and fix the typos (which I never saw at the time). 

Photo by Frank Cone on Pexels.com

When I go to the movies — remember when we used to go to movies? — anyway, if I went to a comedy, I was very likely to laugh too soon. I “hear” the punchline two lines earlier than it actually occurs. There’s no benefit to my laughing early! But that’s when the punchline hits me. I do keep it soft so as not to disturb the others in the audience. On the other hand, I’m pretty good at “discovering” the playing patterns of my tennis opponents and anticipating what they are going to do. Naturally, I don’t always guess right, but I do way better than chance.

I bring up these examples to illustrate a generality; that most of these individual differences have both an upside and a downside. Mainly, learning about my own styles and capacities is something I only began to think about well after leaving high school. That makes sense. In school — or at least, the schools I went to — everybody got the same instruction in the same way almost all the time. But as an adult, you often have a lot of control over your own timing, flow of information, etc. I think it’s worth your while to look back at your experience and discover what you have difficulty with, what you’re OK at and what you are exceptionally good at. When you have a choice, use the approach you’re really good at. 

Oh, and try to avoid hiding behind curtains when there’s someone with a sword around.

—————————————-

More background on “knowing yourself” 

https://en.wikipedia.org/wiki/Know_thyself

https://arkintime.com/know-thyself/history/

The Walkabout Diaries Natural Variety

Where do you draw the line

Your Cage is Unlocked

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