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How the Nightingale Learned to Sing

An Open Sore from Hell

The Impossible

Pattern Language Summary

The Midnight Flight to Crazytown

To Be or Not to Be

Peace

Who Won the War?

We Won the War! We Won the War!

At Least He’s Our Monster

Stoned Soup

Fifteen Properties

Tools of Thought: And then what?

The Walkabout Diaries: Sunsets

All that Glitters is not Gold

When Greed’s the Only Creed

The Self-Made Man

The Story of Story: Part 3

17 Saturday Jan 2026

Posted by petersironwood in creativity, essay, HCI, psychology, story, Uncategorized

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books, education, fiction, HCI, knowledge, leadership, learning, life, management, sense_making, story, Storytelling, thinking, truth, UX, writing

The Story of Story: Part 3 – Good Story, Well Told.

Often in my English classes, (and yours?) we talked about the mechanisms of writing: spelling, grammar, word usage, punctuation, paragraph construction, metaphor, rhythm, and rhyme scheme, for instance. We talked very little about how to tell a story well. And we talked zero about what makes for a good story.

In the last article, I described some guidelines for soliciting stories from users and other stakeholders. From these, one may gain insight into potential problems that a product or service might solve, ameliorate, bypass, or avoid. Later, I will describe more about how stories may be used in the design and development process. Before getting into that, however, I want to describe more about what makes for a good story. In the following articles, I will also suggest ways to make the story well told.

What Makes for a Good Story?

You might find it helpful to write down a short list of 5-10 novels, short stories, movies, or TV shows that you really liked. It doesn’t have to be your all time ten best; just something good that springs to mind. Then put that list aside. Read through the criteria I propose and then check back after you’re done reading to see whether or not most of these criteria were met. I’m betting that they mostly were met.

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The Story Cube.

Imagine a cube of some really nice material that you like; e.g., polished wood, lead ore, malachite, silver. This cube has three dimensions: height, width, and depth. It must have all three dimensions. In the case of a story, there are also three dimensions in this sense: Plot, Setting, and Character. If a story lacks any of these three, it will be “flat” (not so interesting). For example, if you spent time working in a large company or government agency, you were probably given training materials about how you’re not supposed to do unethical things like steal from your company. They may have provided you with scenarios and asked what you would do or what was the “right” response. These stories tend to have people in situations making decisions. The problem with these stories is that, in order for them to be “efficient”, they spend almost zero time on character development. “Joe wants to impress his boss and make his quota for the fourth quarter so he puts down as sold this-quarter things he is sure he will sell early in January. After all, he rationalizes, calendars are arbitrary.” Of course, the answer is no Joe should not be lying on his sales report. But we really don’t know much about Joe. We don’t know enough about him to really care much about him. Of course, he shouldn’t lie. If he does, it’s pretty hard to feel anything but contempt for Joe. It should have been obvious to him that he shouldn’t lie on a sales report and if he does lie, he should be fired. Good riddance. Let’s replace Joe with someone who follows the rules.

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This story is so flat that it seems to me that the story is constructed, not so much to really educate, but more to prove that you were shown that it’s wrong to lie on sales forms so that, should the court case arise, you will not be to argue effectively that it was a mere technicality that you didn’t know about. If you really wanted to change someone’s mind about what was right, knowing about Joe’s character could make you empathize much more. Maybe he came from a Mafia-type crime family and no-one would bat any eye about lying on a sales report. They would expect him to lie on the report. Maybe even now, he is looked down upon by everyone else in his family for being such a chump and working for “the man” instead of being “the man.”

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Or, perhaps Joe just found out that his wife has serious cancer and is understandably but severely depressed. He desperately wants to bring her some good news. If we reveal, not only what situation Joe is in but also, how he sees that situation, how he feels about it and what conflicts he faces, we will begin to have real empathy for Joe. His choices become real, rather than predetermined.

TV commercials, like corporate training videos, are typically pretty flat too. But in some cases, the ad agency has gone out of their way to introduce you to some character that is recognizable and re-appears in commercial after commercial. Each time, just a little bit of character is revealed and eventually you find yourself watching the commercial largely because you start to care about the character. In a similar way, one might be able to make the corporate training stories more intriguing & educational if there were a cast of characters that persisted over time.

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Two Paths Diverged in a Yellow Wood…

Typically (but not invariably) the author knows how the story will turn out before he starts writing. But for the reader (or viewer), it is not at all obvious how the story will turn out. For compelling stories, the reader must be convinced to “play along with” the uncertainty of the outcome even if they are sure ‘the good guys will win.’ In good stories, bad things happen to the protagonist, but he or she is not a cork tossed on the ocean waves. The protagonist must want something; they must have a goal that is overwhelmingly important to them. They must react to changing circumstances, overcome the obstacles that are thrown at them. Characters are engaged in battles! Battles test them. If winning the battles is easy or inevitable, the character isn’t someone we can really relate to.

catman

Kryptonite

Superman is basically super-human and invulnerable! But watching someone who is invulnerable and has super-powers win battle after battle is boring. Superman has to have weaknesses. To make it more interesting and allow for more plot variation, he actually had three original weaknesses: kryptonite, friends, secret identity. In one episode, someone will have some kryptonite while in the next, someone will kidnap one of his friends. Recent movies have added a fourth weakness: other super-human and invulnerable beings.

Whatever the story, your character must have weaknesses. Otherwise, no-one will “believe” the character and you as the writer will be stymied when you try to develop an interesting plot. The weaknesses can be physical, moral, social, intellectual, situational, and so on. But they should not be merely irrelevant weaknesses. Imagine a story where Sue is the main character. She’s tone deaf. She’s also brilliant, hard-working, imaginative, driven to succeed. And, indeed, she becomes a very successful trial lawyer. Eventually, she is made partner. OK. Isn’t this exactly what we’d expect to happen? What does being tone deaf have to do with anything?

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Imagine instead, that Sue was inspired at the age of four when she went to the opera. It was her life-long dream to become an opera singer. Indeed, she was blessed with a beautiful voice. She was also brilliant, hard-working, imaginative and driven to succeed. Unfortunately, she was tone deaf. Now, the weakness becomes interesting. Perhaps she will fail and kill herself. Perhaps she will fail but find another goal that is even more important to her and succeed at that. Perhaps she will fail time after time but eventually develop a career as an improvisational opera singer. She will ask people in the audience to name five things and then and there, she will create a beautiful aria that weaves a tale of some considerable interest about the five things. No-one knows that she is singing out of tune because she is composing on the spot.

The more improbable the odds and the more horrendous the journey, the more challenge you give yourself to make it work! Blind at birth but wants to be an artist? Surely, that’s just stupid. It’s impossible. But is it? What if feedback were provided in such a way that it influenced her to make unique and beautiful paintings? What if genetic engineering allows her to grow new neural pathways? What if she can be equipped with artificial eyes? If it’s fiction, a magic spell can do the trick. Even if your ultimate goal is a real product for the real world, imagining a magical solution may lead you to a new (and real) path, previously hidden by your own expectations.

It is easy for a writer to identify with their hero. And that is potentially quite a problem. After all, if you were superman, you sure as heck would not go out of your way to go near kryptonite. You’d quite sensibly stay away from the stuff! But if you are writing about superman, you need to get him near the deadly stuff every third or fourth episode! The “weaknesses” in the character generate interest. The failures, injuries, betrayals, and conflicts of your protagonist provide materiel that allows you to architect a more interesting plot.

A Garden of Delights, Flashy Sights, or Sword Fights?

Three dimensions of story is a weak metaphor only. The three dimensions of a cube can be manipulated independently. This is not generally true for the three dimensions of story. The character makes a decision, the decision determines the next step of the plot. That will influence the setting for the next scene. In addition, the actions of the protagonist may also change state of the underlying and cross-cutting conflicts.

Imagine:

two rival gangs fighting for urban turf and maybe sex,

two gardeners in a fierce competition for sex with the town’s most eligible “catch” as well as for the blue ribbon prize for best garden,

two rival secret agents vying for victory and maybe sex,

two life long friends now vying for #1 in their Harvard Law class, and maybe sex.

The structure of the underlying plot might look quite similar, but the specifics will depend a lot on how the character is developing. If they develop from ego-centric to altruistic, then they will tend to make different decisions near the beginning than near the end of the story. In addition, the setting will have to be consistently portrayed.

The four descriptions above would most naturally lead to a lot of the setting for the stories respectively in urban settings, garden settings, foreign settings & dangerous situations, mainly Law School and campus settings. Of course, you could violate expectations in a way that increases interest. Imagine that rather than have another garden scene–

The rival gardeners arrive at an urban parking lot dressed in expensive gowns, fully jeweled in their finest, both fully knowing that they will win first prize (but secretly fearing that they might not). These life-long friends now exchange icy greetings, make back-handed compliments about each other’s appearances. The verbal exchange escalates. Precisely because they know each other so well, they know exactly how the other person’s escalator functions. Soon, they are rolling around on the parking lot in their fancy gear; ruining each other’s clothes and hairdos. At this point, they hear in the distance, the loudspeaker and the chairman about to announce the Blue Ribbon Winner! In their trashed and ripped clothing, they sneak in together to hear the awards, hanging out together in the shadows so as not to be seen in their tattered clothes. “And the blue ribbon goes to” {drumroll}:

someone else entirely.

At this, the two life long friends look at each other, laugh uproariously, hug each other, and then become even more intimate friends than they were before their fight in the urban parking lot.

The fact that there are “expected” relations among various dimensions of story is wonderful. For every such expectation, you can decide to follow, bend, or break that expectation. The more expectations people develop, the greater the number of variations for creative exploration. One valid reason for the choice of setting is really where you want to spend your time. That goes for an author — but it also goes for any designer or business person or User Experience expert. What kind of setting do you want to be in? What kind of customers do you want to serve? Do you really want to make their life better or just get them to buy more product? What sorts of application areas are really cool to you? Of course, I understand people need to eat and often there is a conflict within us all about what to do. That’s what a good story is really about.

The reason that stories resonate is that, regardless of setting, people face the same kind of dilemmas. We all do. And, how we handle those dilemmas? In life, as in story,

character is revealed by choices under pressure…

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Dream Planet on Barnes and Noble

The Impossible

Donnie Boy gets a hamster

What could be better? A Horror Story

All that Glitters is not Gold

The Forgotten Field

Choosing the Script

The Story of Story, Part 2

16 Friday Jan 2026

Posted by petersironwood in creativity, HCI, psychology, story, Uncategorized

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AI, books, communication, education, fiction, HCI, interview, knowledge, narrative, needs, psychology, story, truth, user experience, UX, wants, writing

Introduction:

This is the second in a series about using stories and storytelling in the design, development, and the deployment of products and services. In each post, I will weave in some advice about what makes for a good story as well as how to use stories. In this first case, the emphasis is on using stories to help uncover customer needs and wants. Needs and wants are not quite the same thing. For an extremely worthwhile discussion on the difference, check out this classic article by George Furnas.

We Human Beings are not just Information Processors; we are also Energy Processors.

I had just attended a conference on “knowledge management” co-sponsored by IBM consultants and IBM Research. On the plane ride back, after finishing the crossword, I turned the page to find a full page color ad by an IBM competitor that proclaimed: “Knowledge Management is simply [sic] providing the right information to the right person at the right time.” Color me skeptical, I thought. It isn’t simple to do those things. Beyond that, the formulation seemed simplistic even in its formulation.

The image of one of my undergraduate professors flashed into my brain. Professor MacCaw, (as we will call him), taught advanced German, a language which he had learned in a Russian prison camp, which might explain his approach to testing. At semester’s end, he asked, “Who in class wants A?!”

All two dozen of us raised our hands, of course. At this point, he proceeded to — there is no other word — attack one of the students in the class who had had four years of German in high school and had also lived in Germany for two years. The contents of his questions were not really that difficult, but the manner in which he demanded the answers was horrid. He would ask, for instance, “In first story, main character went where?” (He would always ask the questions in English).

And she would begin to answer (necessarily in German), “Er geht…” And after a couple words were out of her mouth, he would scream, “Please to conjugate!” This meant that she would have to think back to the last verb she uttered and then conjugate it. “Ich gehe, Sie gehen, …” Then, he would interrupt again and scream a completely different and unrelated question in English. She would begin to answer; he would interrupt after she uttered only a few words: “Please to decline!” This meant, that she would have to give the various forms of the last noun she spoke according to the case. But once again, she could not finish but only begin declining the noun when he would once again interrupt. After 40 minutes, she was in tears and he looked menacingly around the room and asked, “NOW! Who in class STILL wants A?”

I have zero desire to go hang gliding or sky diving. But when it comes to the danger of mere social humiliation, I say, “Screw it. Been there. Done that.” I was one of only two of the remaining students who raised their hand. This act won me the next turn on the chopping block. He proceeded the same whip-saw questioning fest with me. The two-period class was almost over when he finished with me and began questioning “Mr. Lepke.” The bell rang and everyone else in the class left. Later that evening, I chanced to see Professor MacCaw in the Student Union. He walked up to me, eyes blazing. “Ha! I had Mr. Lepke after class for two hours! Finally, he said to me, ‘No, No, Dr. MacCaw, no more, I beg you. No more!’”

This oral exam was difficult (even with my “screw it” attitude). It was much “harder” than my dissertation defense, for example. Again, it was not the information requested but the manner of questioning that made it difficult. People are not emotionless robots, as it turns out.

The next semester, not surprisingly, only about half the class returned. One day in class, as Dr. MacCaw began one of his lengthy digressions on Eastern European history, he stopped himself in mid-sentence to say, “What is THIS!? Someone is passing notes in my class! I will take note and read in front of entire class!” He snatched the note, unfolded it, and indeed read the note in his loud ringing voice: “Doctor MacCaw: your zipper is down.” And, indeed it was. He had meant to humiliate someone in front of the entire class — and he had succeeded. He had the necessary information delivered at the right time to the right person, but — thanks to his own actions — it had not been done in the best manner — at least not the best manner for him.

Human beings are not just information processors. We are living things and as such, the emotions, the vibes, the manner, the intensity of presentation — these are all vital to how we will react at the time and also how we will feel about the people involved and what we will recall years later. And this fact also means that the atmosphere you create when you interact with various stakeholders will vastly impact the quality of the insights and stories that you receive. If you really care about the people and are really committed to doing something to making people’s lives better; if you are truly open to hear and take in something unexpected or even disruptive to the project; and if you allow your informant to feel that truth about you, you will obtain the gold ring.

Stakeholder Stories Solicited at their Sites.

If you use a mechanical method and a mechanical tone and a mechanical manner to ask your users and other stakeholders about their needs and wants, what you will uncover are the most mundane, most rudimentary, most superficial and socially acceptable needs and wants. You can indeed use this information to design a product or service, and you may even have a product or service that succeeds in the marketplace. It will likely be, however, a rather short-lived “win.” Why? Because you are designing to fulfill wants that are subject to the wild winds of passing fashion rather than to catch the fire of an underlying passion.

What I found for myself was that it typically took about an hour of talking with a stakeholder, and most importantly, listening attentively, before they began to tell me their real stories. Your mileage may differ according to culture, context, power relations, your personality, and so on. I like to use a semi-structured interview. In this type of interview, there are known questions that I want to ask. But I also schedule plenty of time to let them elaborate, tell me what’s what behind the scenes. I know that in the corporate world, there is an ever-present push for being “efficient” and getting the job done as quickly as possible. So, it’s tempting to get the informant “back on track.”

I always prefer to interview an informant in their workplace. This seems like common courtesy; it puts them more at ease; and it sometimes reveals their use of other people, references, private notes, etc. as well as what they are dealing with in terms of atmosphere, noise levels, interruptions, desk space, etc. It also makes it much more likely that they can retrieve more of their own memories about work incidents more accurately because of all the contextual cues.

John Whiteside, who ran the Usability group for Digital Equipment Corporation for a time, recounts running various usability studies and gathering data in various ways about a product they were designing for manuscript centers (places where human beings, historically almost always women, transcribed the dictation of others into text on a computer so that it could be edited, re-written, stored, etc.). The first time that they visited their users in the field, they discovered that they spent about seven hours a day typing and about an hour every day counting up, by hand, the number of lines they had typed. So, in one instant, they realized a feature that would improve productivity significantly.

Guidelines for Soliciting Stakeholder Stories.

When I managed the storytelling project at IBM Research, I was fortunate enough to hire Deborah Lawrence to help with the project. She thought it would be a cool idea to interview experts in a number of fields whose job, in one way or another, involves soliciting stories. So, she went out and did just that. I believe that her interviewees included medical doctors, policeman, reporters, social workers, and psychotherapists. These various practitioners had very similar guidelines.

Story Elicitation Guidelines:

Provide a “warm-up” period.
Tell something personal and revealing about yourself; perhaps tell a story that is a model of the kind of story you’re looking for.
Observe an implicit contract of trust.
Provide a motivation for the story — why it’s important.
Accept the storyteller’s story and worldview. Don’t resist the story.
Reveal who you are, how the story will be used, potential audience and goals, answer questions.
Use questions to probe. Sometimes, a totally “off the wall” question can create space for story to emerge.
Empower the storyteller — they are the expert.
Avoid threat; don’t appear as an expert yourself.
Listen with avid interest.

These may seem fairly obvious such as does a lot of the advice in the book, How to Win Friends and Influence People. (Come to think of it, that might be the single best book you can read if you want a career in HCI/UX). However — back to the guidelines. I think they seem obvious once pointed out, in much the same way that once someone points out the “pig in the clouds” (or the face in the tree) you cannot not see it.

The above list is not, of course, meant to be the definitive such list. This was based on one study. If you have additional guidelines or disagreements, please let me know.

Author Page on Amazon

The Walkabout Diaries

The Myths of the Veritas

A Pattern Language for Collaboration

Imagine All the People

The Story of Story, Part 1

15 Thursday Jan 2026

Posted by petersironwood in creativity, management, psychology, story, Uncategorized, user experience

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AI, Design, development, HCI, knowledge, leadership, life, management, persuasion, story, thinking, thought, truth, UX

The Story of Story, Part 1

Background.

Right around the turn of the century, I managed a research project at IBM’s T. J. Watson Research Center on the business uses of stories and story-telling. The project was part of a larger effort on “knowledge management.” One of IBM’s major reasons for being interested arose from their increasing revenue stream from services. However, services such as consulting required a lot of labor; it was competitive. Therefore, the margins on this business were not so high as, for instance, in hardware or system software. IBM invested a lot in tools so that they can make hardware very cheaply and effectively using relatively little labor. The company wanted to be able to something similar with consulting services. The idea was that we could use knowledge management so that the knowledge assets of top-level consultants could be, captured, organized, and then re-used by more junior (and less expensive) people thus rendering higher margins for the company. The success of this approach was fairly limited partly because the knowledge management methods were geared toward explicit rule-based knowledge and specific facts. Much of what experts “know”, including IBM’s top-level business consultants was tacit knowledge. Stories provided a natural way to capture tacit knowledge. Thus, the story project began.

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My simplistic initial idea was to build a story platform that would enable consultants to write stories about their experiences. After all, sharing stories orally is what experts naturally do anyway. Since I enjoy writing stories, I failed to realize initially all the reasons consultants would not want to share their experiences by writing stories. Writing stories is not so natural or fun for most folks. Partly because of the medium and partly because of higher expectations, it also takes more time. Perhaps, even more importantly, it takes extra time. When consultants share stories, they are often traveling, eating dinner, having drinks together. Sharing stories is something done in a friendly off-hand way, and importantly, it does not take extra time in the way that writing a story would.

In addition, when a consultant says something out loud it is not typically recorded. So, if they misspeak or said something untoward, they have plausible deniability. When someone tells a story live, they also can sense how the story is being received in real time. If the listeners are “into it” the teller can draw things out and make it more vivid. On the other hand, if they are starting to play “Candy Crush” on their phones, you can cut it short. In writing, typically, first you write and then you get feedback. Of course, professional writers often improve things considerably with the help of a copy editor, beta readers and a proofreader. Anyway, over the course of time, we did develop a feasible way to have people tell stories and from those stories, provide information of use to other knowledge workers.

Three Patterns for using stories.

Narrative Insight Method describes techniques for gathering valuable knowledge from experts through the use of storytelling.

Fostering Group Cohesion through Common Narratives is another storytelling technique: in this case, one focuses on building and disseminating stories that illustrate common values.

Fostering Community Learning via Transformed Narratives. This helps solve a dilemma. For organizational learning, it’s crucial to learn from people’s mistakes. Ordinarily though, mistakes are not just used for learning but can bar one from advancement, or from getting raises, and lessen the esteem one’s colleagues might have of the teller.

In this post, however, I want to describe some of the things I found interesting about stories from personal observations and, to a lesser extent by reading. Here are just a few examples of interesting aspects of stories.

Good story writing is not magic. It’s craft. Mastery is a life-long quest, but one can quickly learn a few important things that will help you to write better stories as well as to enjoy more thoroughly the stories you see or read.
Stories are memorable and motivating. If you watch people telling stories, they are animated and engaged in a way that is rare when people are discussing facts, pronouncements, or pleasantries.
Business-speak is grey, toneless, neutral, abstract and speaks to the intersection of people’s experiences. Stories on the other hand, can be colorful, concrete, emotional, and, collectively they add to the union of people’s experiences.
Although stories are generally presented in a linear sequence, beneath that, the story actually has a hierarchical structure. Most stage plays have three acts. Within each act, there are a number of sequences. Within each sequence, there are scenes. Within each scene, there are “beats.”
The three major dimensions of story are setting (where, when), plot structure (what happens), and character (the people; what they are like and what they want).
Story lives on conflict; a story explores the edges of human experience; it takes us on an empathic roller coaster ride.

In the next essay, we will begin to see more specifically how to use stories to help us discover problems and issues. Later, we will see that stories are a tool of thought that can be used in many different contexts and in many phases of problem solving and development.

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Author Page

There’s a Pill for That

Inventing a New Color

The Sound of One Hand Clasping

The Forgotten Field

Stoned Soup

The Three Blind Mice

Finding the Mustard

What About the Butter Dish?

How the Nightingale Learned to Sing

Absolute is not Just a Vodka

My Cousin Bobby

If Only

Tools of Thought: Symmetry

07 Wednesday Jan 2026

Posted by petersironwood in management, psychology, Uncategorized

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beauty, Business, Design, HCI, human factors, Human-Computer Interaction, poetry, politics, problem_solving, symmetry, truth, UX, Web design, writing

Symmetry

(Original, free-hand drawing by Zoe Colier).

There are many varieties of symmetry. Symmetry exists rampantly in nature and symmetry is also incorporated into many human designs. In this short essay, I want to remind people of several varieties of symmetry and then show how symmetry may also be used as a tool of thought to help solve problems by simplifying the space of possibilities that must be considered.

Symmetry is a concept with far broader application than cutting out paper snowflakes or choosing a nice looking Christmas Tree, Menorah or other Holiday decoration. It is fundamental in logic, mathematics, physics, chemistry, biology, and even in social science.

Symmetry exists at many different scales as well. Planets are generally roughly spherical and their orbits are roughly circular.

The human body, along with most other animals, exhibits rough bilateral symmetry in external appearance. If you examine your own fingerprints or the pattern of your moles, for instance, you will see that one side of your body looks slightly different from a mirror image. If, like me, you are a righty who play tennis, you will find the forearm muscles on your right arm are slightly larger than those on the left. What is remarkable to me is not that there are slight variations between left and right but just how slight those variations are. And, we are not alone. Fish, insects, flatworms, roundworms, snakes, turtles, lizards, horses, dogs, cats, apes, and humans are all roughly bilaterally symmetrical in appearance. I say “in appearance” because our internal arrangement of organs is not at all symmetrical.

External Appearance and Internal Organs

In general, it seems to me that most animals possess more complete or “perfect” bilateral symmetry than do most plants. I suspect that this is because animals generally move through a physical environment. Since we can move around, the environmental forces are generally symmetrical and so our ability to react to those environmental forces is also symmetrical. A tree, on the other hand, may have a genetic “blueprint” to be bilaterally or (more likely) radially symmetrical, but it may be subject to strong asymmetrical forces such as wind, a water source, or sunlight versus shade.

Our designed objects are also most often (at least) bilaterally symmetrical, and particularly for those objects which must interact and move through the physical world. Cars, boats, motorcycles, busses, trains, trucks, bikes, skis, surfboards, roller skates, ice skates, snowshoes and tennis shoes all tend to be bilaterally symmetrical. On the inside, however, again just like us, there are often some irregularities. The arrangement of controls of the car, for instance, are asymmetrical. (Each control in itself often does show symmetry. In some cases, this makes it easier to use, especially without looking. I suspect that the symmetry may often be for aesthetic reasons, for ease of manufacturing, for ease of maintenance or replacement or some combination.) The asymmetry of arrangement “works” because the arrangement of displays and controls does not interact with the natural world the way that the car body and wheels do. The controls are designed to interact with a human being. There are also rough conventions for where controls are laid out, how they operate, and what each type looks like. Asymmetry of arrangement is also evident under the hood. However, some of the components such as the engine, the battery, the radiator have symmetry within them. The radiator, which arguably has the most interaction with the outside world, is symmetrically placed though its plumbing is not.

Photo by Pixabay on Pexels.com

In the design of User Interaction and Experience, an argument can be made for certain kinds of symmetry. For example, in the Mac editor Pages, which I am using to write this, if the B for bold button background turns blue when bolding is turned on, I expect the background will turn back the way it was (white) when bolding is turned back off. I also expect that italics and underlining will behave the same way, especially because all three are in the same toolbar.

Where possible, it also generally makes sense, I believe, to design so that the functionality of a system is symmetrical. This isn’t always possible. Some actions are necessarily irreversible. If you don’t believe me, ask anyone who has toddlers or who has pets. In the real world, if you shoot someone dead, you cannot “unshoot” them. Unlike a computer system who asks, “Do you really want to delete all your files?” before doing so, guns do not ask that. If you are designing what can be done with a toy robot however, if you can make it go forward, you want to make it so it can go back as well. If it can turn right 90 degrees, you would like to enable it to turn left 90 degrees. Saying, “Oh, yes, but don’t you see, you can, in effect, make it turn left 90 degrees by making it turn right 90 degrees three times?!” does not cut it, IMHO.

Typically, you not only want the functionality to be symmetrical, you also want the control functions and appearances to mirror the symmetry of the functionality. For example, if you can issue the command: “MOVE ROBOT FORWARD THREE PACES” you want the symmetrical function to be evoked this way: “MOVE ROBOT BACKWARD THREE PACES” and not, “THREE PACES BACKWARD FOR ROBOT MOVE.” If you decide to give auditory feedback for the first command that says, “ROBOT MOVING FORWARD THREE PACES” you do not want the reverse command to provide feedback that says, “ROBOT THREE PACES BACKWARD MOVING.” (Oh, by the way, if you cannot provide symmetrical functionality, please do not pretend to do so with a facade of symmetrical looking commands that actually behave asymmetrically!)

Photo by Matan Segev on Pexels.com

A lack of symmetry (or consistency) in the functionality, command structure, or visual appearance often arises because of a lack of communication within the development team. If different functions of the robot are to be implemented by different people, then it’s important that those various people use an agreed upon style guide or Pattern Language or that they communicate frequently. Of course, this is not the only cause of asymmetry. Even if your team communicates really well, they can’t design an effective gun with an “unkill” function.

There are, of course, various types of symmetry. Bilateral (mirror) symmetry is what the external appearance of our bodies has. There is also translational symmetry, where the same shape is repeated along a line. The string ABCCBA shows bilateral symmetry while ABCABC exhibits translational symmetry. Most human factors people now agree that hot water faucets (usually on the left) and cold water faucets (usually on the right) should both be turned off by turning to the right and turned on by turning to the left (translational symmetry) as opposed to having the faucet on the right turn off to the right and the left faucet turn off to the left. But you will definitely experience both types.

In both music and poetry, at least in the culture I am most familiar with, translational symmetry is more common than mirror symmetry. It does sometimes happen that musical composers experiment with playing a tune backwards or even with the staff turned upside down. But this is far less common than repeating a theme or melody. Similarly, a rhyme scheme like ABCABC is much more common than is ABCCBA. {In this notation, ABCABC means that the first line rhymes with the fourth line, the second line rhymes with the fifth line and the third line rhymes with the sixth line.}

black and brown millipede on a green and brown branch

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In biology, we also find translational symmetry or something close to it. The segments of a tape worm, the segments of the body of a millipede or centipede, the small legs of a lobster, and even our own vertebrae and ribs show translational symmetry. In social structures as well, we find both mirror symmetry and translational symmetry. For instance, the Golden Rule says to do unto others as you would have them do unto you. In addition, as it happens, if we are nicer to other people, then, generally speaking, they are also nicer to us. This is not always true, however. Some people simply take advantage and view all of life as a zero sum game. Whatever you gain, they lose and vice versa. This is a very limited, inaccurate, and self-defeating attitude in most social situations. Most social situations, are, of course, much more complicated. Generally speaking, there are a great many situations that both you and your “opponent” or even your “enemy” would agree are good and a great many others that both of you would agree are bad. If you are playing tennis or golf outdoors, for instance, you may be fiercely competitive but both of you would probably find a game that brings out the best play is better for both of you. Both of you would probably also agree that being rained out is a bad outcome.

men in black and red cade hats and military uniform

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In the military and in many industrial settings, there is a great deal of translational symmetry. The “ideal” set-up is to have many groups at each of many levels and each group is meant to be as similar as possible to all the other groups at that level. The marching that military groups learn is both symbolic of this translational symmetry and practice in behaving as a unit composed of identical parts. Whether or not this is the best way to run a military is debatable. To me, it’s undeniable that this management style has been imported into a huge number of organizations where it is definitely not the best way to organize.

The last thing to note is that symmetry also pops up in design. There is often a whole series of information exchanges from people who have quite different areas of expertise. These exchanges can result in mutual learning, solutions that work, and often patents, and occasionally, some really cool, transcendent, game-changing designs. In my experience, it is much better to have a design process based on symmetrical relationships founded in mutual respect than to have a design process based on having someone in a hierarchical power relationship make decisions that are to be implemented by an identical set of “underlings.”

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The Takeaway

Symmetry is everywhere. There are many forms. If you start looking for symmetry, you will find examples in nature, in mathematics, poetry, art, music, machine design, the military and even in design problems and design processes. Thinking quite consciously about the types of symmetry that exist in a problem space and what could or should exist in that problem space, can lead to novel solutions.

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Author Page on Amazon.

The Walkabout Diaries

Local Symmetries

Alternating Repetition

Donnie Takes a Blue Ribbon for Spelling

Travels with Sadie

It was in his Nature

A Cat’s a cat

A Suddenly Springing Something

Hai-Cat-Ku

Hai-Ku-Dog-Ku

Negative Space

02 Friday Jan 2026

Posted by petersironwood in creativity, management, psychology, sports, Uncategorized

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AI, art, creativity, Design, HCI, illustration, music, negative space, painting, poetry, problem formulation, problem framing, sports, thinking, thought, UX, writing

Negative Space

When you look at a scene, it is natural to concentrate on the objects in the scene. So too, when one begins to design, it is natural to concentrate your attention on the things you intentionally put into the design whether those are menus, icons, images, banners, buttons and so on. You tend to give little thought to what is not there because, after all, there’s nothing there!

As your expertise grows, you will find it useful to spend some time and resources thinking about what is not there; the “negative space” if you will. In art, the “negative space” refers to the space around and between the objects. Often, paying attention to the “negative space” can result in a much more interesting and aesthetically pleasing composition. It is a concept that has applications far beyond artistic visual composition however.

Consider music for a moment, or better yet, listen to some and you will note that the silence is just as important as are the notes. Increase or decrease the silence in a tune by a factor of two and it becomes a different, and in most cases much worse, tune.

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The same can be said of great acting whether on stage or in a movie. The silence while we wait for the actor’s response to some news — while they are saying nothing and possibly even showing nothing or very little on their face, can often be the most poignant and moving parts of the picture. If the actor reacts “too quickly” with no space, we can tell that the stimulus presented is something that they “trigger” on because they are upset about it or trying to deny it. The leading man, for instance, asks a seemingly innocent question on a first date, such as, “So, do you like French Cuis…” “NO!” she cuts in. The audience’s attention is immediately drawn to see what comes next. The response that is too fast indicates a “sore spot.” Did the leading lady want to become a French chef? Did she just end a love affair with a Frenchman? What is going on here?

On the other hand, imagine the leading man, says, “So, do you like French Cuisine?” One beat, two beats go by. No answer. A long pause. The leading lady’s face shows nothing. Perhaps she tightens her lips ever so slightly or frowns to the slightest possible extent. The pause continues. The leading man tilts his head as though to ask whether she’s okay. Finally, we come to expect a tirade about the French or French Cuisine or French wine or … something. Instead, after this long pause, the leading lady says nothing but punctuates her silence with something that sounds like a cross between a humorless laugh and a karate grunt. There are probably no words she could have said which would have intrigued us more than the non-response. We think, “What the hell is going on with her and French Cuisine?”

Speaking of French Cuisine, when you go to a fine restaurant, your focus is on the food. So too is the focus on the chef and the server. But the space is important as well. It is annoying when you are paying good money to have a nice dining experience and you are shown to your table, given menus and then ignored for the next twenty-five minutes. On the other hand, it is equally annoying when your server comes back every 30 seconds and asks, “Are you ready to order yet or do you need more time?” The optimal time to wait between courses is not always obvious either. Some people need or want much more time between courses. Maybe this nice dinner is all they have planned for the evening. The patrons are having a nice quiet dinner with good conversation. They are in no hurry. Just as one of the diners launches into a complex story or joke, the server comes over and interrupts to tell about the specials. Conversely, another foursome may be planning on attending a play and long pauses between courses may mean missing the first act.

The negative space in dining is not just about the timing of events. It is also about the spatial arrangement of the food, the spacing between textures and colors. Often, the artistic arrangement is as much about the negative space as the objects on the plate.

Sometimes, the food itself has positive and negative elements. In a meal with varied and complex and contrasting tastes, for instance, the rice or the bread can provide a kind of “negative space” between the tastier and more salient constituents. These neutral or negative elements allow more contrast among the salient elements than if the more salient elements were enjoyed right after each other. I’m reminded of a line from Kahil Gibran’s The Prophet:

“Let there be spaces in your togetherness.”

Negative space is important in architecture, painting, typography, cinematography, the design of user interfaces, culinary arts, music, and the design of other stimuli. It is also important in activity.

One of the first popular video games was called “Asteroids.” In this black and white vector graphics game, you controlled a small space ship that shut bullets in the direction the space ship was aimed. All you could control was the speed and direction of the space ship and whether it was shooting. The screen also showed a number of large, irregular “asteroids” that you were meant to hit. When you hit one of these large asteroids with a bullet, it split into two moderate asteroids. When you hit a moderately sized asteroid with a bullet, it split into two small asteroids. When you hit a small asteroid with a bullet, it disappeared. If you got hit by an asteroid, you would die. There was also a flying saucer who came to hassle you. Anyway, I found that if I focused on all these floating asteroids and trying to not to get hit by one, it was a difficult game. For me, at least, it was much better to visualize a path among the asteroids and try to follow that path. In a way, concentrating on the negative space, helped.

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The importance of negative space in sports can hardly be over-emphasized. In American football, the back tries to find the holes to run through. In soccer, players seek paths between. In baseball, the hitter wants to “hit it where they ain’t.” In tennis, beginners often play only during half a point. Their attention is focused on the ball and the opposing player(s). They choose a target on the other side of the court and watch to see how well they hit that target. Just as their opponent begins to hit the ball they shift their attention to their opponent and watch where that opponent hits the ball, scurrying there as quickly as possible so as to hit the next shot. What does such a player do between the time they hit the ball and their opponent hits the ball? They watch! They want to see where the next ball goes. If you are young and fast and your opponent is not well skilled, you can often get away with this process. However, what higher level players do is something quite different though it may look similar. The good player has a target in mind but watches the ball while their mind has the target clearly in mind. By watching the ball, they are much less likely to mis-hit the ball. Furthermore, they are not giving away their intended target with their body language. Perhaps most importantly, long before their opponent hits a return shot, the good player thinks about the open spaces on their side of the court and go to cover the most likely of those spaces.

Many otherwise well-skilled athletes only focus on the game during play. For example, many hitters on amateur softball teams, pay little or no attention to the game while their team is batting until they are “on deck” (almost ready for a turn at bat). This is absurd in the majors, but it’s even more absurd in amateur games. You should be taking this time to learn about the opposing pitcher and about the weaknesses in the opponent team’s fielders. Just because you’re not in the batter’s box doesn’t mean you can’t improve your play. Similarly, in tennis, you can use the time between points to think about tactics and strategy, as well as to mentally “reset” yourself if necessary. Some players wave their hands in front of their face after a point as a reminder/trigger to forget about what just happened and focus on the next point. Some will even turn away from the play, seemingly to talk with their “imaginary friend.”

To close, a very short, short story based on true events in my first trip to Japan.

tokyo tower behind black and white dojo building during daytime

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The Touch of One Hand Clasping

Japan, Tokyo, 1977. I walk crowded streets and beautiful gardens where care is taken for spaces as well as things that grow. I struggle — try to speak Japanese language but usually mispronounce “Key-Ray-Ee-Des” (It is beautiful) as “Key-Rah-Ee-Des” (It is dirty). I tip-toe through minefields of culture steeped in subtlety; lose huge chunks of flesh and karma with my thunderous, blunderous New York strides.

Shin-Ju-Ku: lights dim Times Square into grandmother’s fruit cellar. Row on countless row of Japanese stare hypnotized at small vertical pin-ball game called Pah-Chinn-Koe. This bright hustle bustle hassle hides deeper subtlety, deeper calm, inside, beneath, where foreign eyes can peer not.

I enter Tokyo subway. Then — she enters — total stranger, totally beautiful, black hair, endless eyes. I, of course, having learned small little in my many minefield walks, look everywhere but at her. Better, she looks everywhere but at me. We ride, totally not looking at each other. She stands in middle — nowhere to hold on to — unprotected, beautiful, vulnerable.

Suddenly, train lurches. Simultaneously: she shoots hand out to only spot I can possibly reach while I shoot hand out to only spot she can reach. Our hands clasp strongly for instant and I save her from fall.

Slowly, we release.

Next stop, she rushes out. But — just before the doors bang shut, she turns — looks straight into my eyes. “Kohn-bahn-wah” she says (“Good Evening”).

Thus, Japanese beauty touches beyond body into very soul of clumsy Westerner.

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Photo by Đàm Tướng Quân on Pexels.com

Negative space….

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Take a Glance; Join the Dance

Life Will Find a Way

At Least he’s Our Monster

What About the Butter Dish?

The Gods of Old

The Truth about Clouds and Gods

Camelot is in your Heart

The Tree of Life

Tools of Thought: Imagination

27 Saturday Dec 2025

Posted by petersironwood in America, creativity, management, psychology, Uncategorized

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AI, art, chatgpt, creativity, Design, fun, HCI, human factors, imagination, innovation, life, neurosis, sports, testing, truth, UX, writing

Imagination.

It seems odd to bother to remind people that imagination is a tool of thought. I have four kids, thirteen grandkids, five great-grandkids and they all use their imaginations. I also worked as a camp counselor, Y leader, child care worker in a psychiatric hospital, and a sixth grade science teacher. Kids use their imaginations! In many cases, they do this for “fun” but they also are constantly using their imagination to do creative problem solving.

When I did therapy with adults however, I found that many had convinced themselves that they had no imagination. This is rather sad as well as being completely inaccurate. Furthermore, in the very ways that such adults exhibited neurotic symptoms, they were using their imaginations. But instead of using their imagination to further their enjoyment or to solve problems creatively, they mainly seemed to use their imaginations for one main purpose: to make themselves miserable.

For example, few of us enjoy being stuck in stop and go traffic. As it turns out, you can actually impact the traffic flow around you by driving differently. You can read about how in this link, but you can come to much the same conclusion by using your imagination to empathize with the drivers around you. Instead, the neurotic train of thought goes something like this: “WHY oh WHY are all these people out on the road?! MOVE! Oh, crap, I am going to be late. My boss is going to scream at me. Probably fire me. CRAP! MOVE! I’m going to be late. I’m getting fired. Damn! It’s not my fault. My boss doesn’t care. He hates people who are late. I should have left earlier. Where will I get another job at my age? I’m sunk. Once I lose my job, my spouse will leave me too. Crap. He won’t write a good letter of recommendation. Should I get off the highway and take surface roads? That might make me later. Damn! I’m sunk. Life sucks!”

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That train of thought certainly uses imagination.

But in all the wrong ways. That person is not using imagination to enjoy the moment, but using imagination to quite literally make themselves miserable. And it isn’t just the commuter. Plenty of people use their imagination to “awfulize” about situations. They think of the worst possible outcome and then imagine that that worst possible outcome is bound to happen. Often, they continue the negative line of thought beyond the immediate consequences much like the teenager who is grounded for a day and screams to her parents, “Thanks! You guys just ruined my life!”

Instead, if you are in a situation that you can’t change, you could use your imagination to have some fun. So you’re stuck in traffic. There are literally a million things you could do instead of writing a tragic screenplay in your mind’s eye. I won’t list all million, but here are a few. You could design a better transportation system. You could construct a joke to put your boss in a better mood. You could turn on the radio or listen to a podcast or a book on tape. You could look at the scenery. You could make up a rather salacious spy thriller about the people around you who are also stuck in traffic. And so on.

So too, in solving problems….hold on… someone’s at the door. I’ll be right back.

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Well, that was weird! Two of the characters from my last blog series came to the door! They wanted me to hurry up and finish this series on tools of thought so they can come back to life. I had to explain to them that my translator is on vacation and that there’s nothing else to write until more of the myths can be decoded. Right now, there is growing interest in recent, though mythological, archeological digs that will give us further clues about the Veritas. My own command of the mythical Veritas language is extremely rudimentary and I’m not even absolutely sure I understood correctly what they were asking. But I am sure it was She-of-Many-Paths and Shadow-Walker. It was definitely them, more or less as I pictured them, but taller, and more ripped than I had imagined. It’s also clear that the two of them are more than friends. Anyway, they seem to be of the opinion that I need to write their myths so that we real humans can avoid making the same errors that people made in their mythical universe. I don’t quite see how that’s possible, but I will use my imagination to try to understand how it might be done. I hope they don’t bother my neighbors.

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Meanwhile, back to the catalog of thinking tools in general and to the use of imagination in particular. Under some circumstances, of course, it is a useful skill to use imagination to think of what can go wrong. I use imagination in this vein for example, when asked to evaluate something from a user perspective. I try to imagine how various icons, words, transitions and so on can be problematic for users. Even though I am pretty good at that, when users are actually observed in real life, they still manage to demonstrate problems that neither I nor anyone else on the design team had thought of!

Even in UX work, it is also important to use your imagination to think of additional opportunities. “You know, we’ve been thinking about this calendar application as a passive recipient of the user’s information. But some users might also like seeing a weekly summary of their activity in different categories.” Or, you might think, “Suppose we tie the calendar in with the message system. The system knows where the user is; we could send a reminder when it’s time for them to leave for an appointment.” Or, you might think, “In some places the time to drive somewhere depends on traffic and weather. We could tie this calendar and reminder in with the map and weather apps to give better estimates of when to send a reminder.” Such musings could result in a better product. Of course, timing is important as well. Your colleagues will tend to appreciate these thoughts a lot more if you are not currently in beta test but instead at the conceptual design phase!

Even knowing that, your imagination might be more likely to kick in later in the project because the application seems more real. You can imagine the reactions of your colleagues and frame your response this way, “Trying this app makes me realize that we can make a number of enhancements in version 2.0, 3.0 etc. I’m going to start this shared file of potential additions, changes, and enhancements that we can all contribute to. We should take a look at this when we are doing 2.0 brainstorming.”

More generally, there are many possible triggers for using your imagination and you may find that some kinds of triggers are more fun for you. For example, you might read fiction and you enjoy following along with the story being presented. This requires a lot of imagination work.

You can also start with a goal or even desire and work outward from this internal state to imagine ways you might accomplish your goal or fulfill your desire. But you can also work inward. You look at what is before you; e.g., a computer screen like the one I am looking at now and ask yourself how it might be different in the future.

Such musings can follow a thread based on the characteristics. The screen is flat, for instance. What if it were curved, or dynamically reconfigurable, or foldable or moldable? What if I could shrink the actual screen depending on circumstances? You can inject your screen (and possibly yourself) into a different and unusual situation. What if I had the screen available on the tennis court? Well, I could project things on my glasses; e.g., as I walk over to retrieve a ball, I could be reminded of how to hit a kick serve. What if I had special lenses that I could pass over any word or icon on the screen? One might give me the history of any given word. Another might give me the definition. Another might give me alternatives that are more esoteric or are easier to understand; more general or more specific; more positive or negative in tone. Another tool might enable you to select a sentence, a paragraph or an entire article and ask, “Who has written similar things before?” Even without AI, a purely statistical approach might lead you find out about people with similar interests.

Another way to practice using your imagination is to pose a question or see how two things are or could be related. On the table beside me are a number of objects: a set of keys, an iPhone, a coffee cup, a checkbook, two of the books I wrote, copies of some papers that I reviewed for a recent conference, a quarter, some business cards. How could these be combined? It doesn’t necessarily matter at this point that the combination is feasible. Let’s just try it.

Putting together a set of keys and an iPhone suggests to me having an app wherein I could photograph all my keys and then, if I lost any (or all!) of the keys, I could have one 3-D printed at a local store or my home 3-D printer. I can also imagine that for another layer of security (at a cost of inconvenience) my iPhone would not turn on unless I took a picture of a particular physical key. A coffee cup and a checkbook seem to belong to different worlds indeed, but that only makes it more of a fun challenge! I like coffee. I don’t particularly like writing bills. On the day before the bills are due, perhaps the coffee machine might not deliver coffee till I wrote the bills. This strikes me as too controlling. For me, it might work better to have an ironic message delivered on the coffee cup such as, “Have a nice day! And save the insane interest rates for paying $25 a day late by paying your bill on time! Or, make some rich banker even richer. The choice is yours!” This approach would not be everyone’s “cup of tea” but that doesn’t matter. The point is to reawaken your imagination.

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What about a quarter and two books I wrote? I could offer a 25 cent rebate. I could write about about the history of the quarter. I could mail people books with a quarter inside. I could make an advertisement about The Winning Weekend Warrior that is aimed at tennis players and suggest that every time they lose a set, they put a quarter in a piggy bank. When they get to 40 quarters they can buy my book. I can design strategy and tactics sheets for different sports that are sold separately. The reader/user places quarters on the sheet to reinforce strategy. In tennis, for instance, such a sheet might be static and the user could use four quarters for the positions of the four players on the court. They could be asked to select smart shots, given the positions. Similarly, I might have 4 or even 18 sheets for golf and on these sheets I would show the slope and terrain and ask people to put the quarter on for their target. Eventually, I imagine, there is a way to capture the data of how the player actually hits the golf ball on real courses and that could be incorporated into what the best shot is for that particular player. This data could also be used as input to computer golf games so that a player might use the game to help select better clubs and targets. We are no longer necessarily talking about my book or about quarters. That doesn’t matter! All that really matters is that I have used these arbitrary objects to trigger my imagination. And you can do the same!

I’m done. Hold on. Doorbell. II see that it’s the Veritas power couple again. I’m inviting them in for coffee. I wonder if they’ve ever had coffee before….

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Choose one of these four books for everyone on your gift list! (Better late than never!)

Roar, Ocean, Roar

The Dance of Billions

After All

All that We Have Lost

Halloween: A Horror Story

As Gold as it Gets

The Walkabout Diaries

The Ailing King of Agitate

Fifteen Properties

Cancer Always Loses in the End

It was in his Nature

Metaphors We Live and Die By: Part 2

26 Friday Dec 2025

Posted by petersironwood in America, health, management, psychology, Uncategorized

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analogy, cancer, disease, HCI, health, human factors, innovation, metaphor, peace, politics, problem solving, testing, thinking, UX, war

Metaphors We Live and Die By: Part 2

men holding rifle while walking through smoke grenade

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Today, I want to delve further into the topic of metaphors that we often unconsciously adopt. In particular, I want to look at a common metaphor in four areas: disease, business, politics, and and the role of UX in the entire cycle of product development.

Although I am fascinated by other cultures, my experience is overwhelmingly USA-centric. I am aware that all of the four areas I touch on may be quite different in other countries and cultures. If readers have examples of how different metaphors are used in their culture, I would love to hear about it.

Disease is an Enemy to be Destroyed

In most cases, American doctors view disease as an enemy to be destroyed. In fact, this metaphor is so pervasive that American readers are likely puzzled that I used the verb “view” rather than “is” in the previous sentence. In American culture, there is also a strong thread of another metaphor about disease: “Disease is a punishment.” This latter metaphor is behind such statements as, “Oh, they had a heart attack! Oh, my! Were they overweight? Did they smoke?” Perhaps I will consider this more fully another time, but for now, I want to examine the view that disease is an enemy to be destroyed.

It seems as though it is an apt metaphor. After all, aren’t many diseases caused by other organisms invading our bodies and doing harm? There are many examples: bacteria (Lyme Disease, pneumonia, ulcers, TB, syphilis), viruses (herpes, Chicken Pox, flu, common cold), protozoa (malaria, toxoplasmosis) or even larger organisms (trichinosis, tapeworms, hookworm).

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When it comes to considering causality, our thoughts usually travel along linear chains of causes. So, we may admit that while Lyme disease is “caused by” Borrelia bacteria, the “deer tick” that spreads the disease is also partly at fault. Similarly, although malaria is caused by a protozoa, the most effective prevention is to reduce the mosquito population or to use netting to keep the mosquitos from biting people. Similarly, you might try to prevent Lyme disease by wearing light clothing, using spray to keep the ticks off, checking for ticks after being in tick infested areas, etc. So, even in common practice, we realize that saying that the little organism causes the disease is an over-simplification.

Once one “gets” a disease, however, the most commonly invoked metaphor is war. We know what the enemy is and we must destroy it! I grant you that is one approach that can be very effective, but consider this. The “human” body contains approximately as many bacterial cells as human cells. What you think of as your “human” body is only half human. It is half bacteria. Furthermore, since we all have trillions of bacteria in us when we are well, the picture of treating bacteria as an enemy to be destroyed is at best an over-simplification. In fact, more recently, medical science seems to indicate that under-exposure to bacteria in childhood can make you more not less susceptible to disease. If you use anti-antibiotics to “destroy” the “enemy” bacteria in your body, many of the “good” bacteria necessary for digestion are also destroyed. This sometimes, though rarely, requires exotic treatment to return to health.

In cancer, both doctors and the general public mainly think of the cancer cells as “enemies” who must be destroyed. And yet, it seems that people may often have mutations that could lead to cancer but don’t. There are even very rare cases of spontaneous cures of cancer. What are some alternatives to thinking of cancer as an “enemy” that must be destroyed?

Clearly, I don’t know of a definite answer or you would have already heard about it on the news. But let’s consider a couple alternatives. First, instead of thinking you have to “destroy” this enemy, imagine you thought of cancer cells as confused. People get confused all the time. Sometimes, we put them in jail. Sometimes we put them in mental hospitals. Sometimes, we simply teach them what they need to know. Sometimes, we do end up killing them. But it is not our approach to kill someone just because they make a mistake. So, we might seek a way to “re-educate” cancer cells so that they “realize” that they are part of something even larger and more wonderful – the human body. How would one go about this? Using the metaphor of a confused person, we would have to understand just why they were acting confused. Then we would have to provide situations so that they could learn (or re-learn) what they needed to know in order to become a productive member of “society.” We could “remind” a liver cell that, after all, they were born to be a liver cell and they’re potentially quite good at that. We could think of cancer as cells that are misinformed or have amnesia about their true nature.

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We might also think along a different line. We could try to discover the best possible environment for these cancer cells to thrive – and then offer it to them somewhere else. For example, perhaps they really prefer an extremely acidic environment. Say you have a skin cancer on the back of your hand that thrives in a really acidic environment. We could provide a gradient of acidity next to the tumor and encourage all those acid-seeking cancer cells to migrate into a really acid tube that is next to the tumor. The farther away it gets from you, the more acidic the environment.

You might also think of cancer cells as being rebellious. For whatever reason, they “feel” as though they are not experiencing enough of the “good life” being part of your body so they “take matters into their own hands” and begin leading a rebellion of cells out to steal the food supply and multiply in an unrestrained fashion. A solution might be to “convince” them that they are better off retaining their initial function rather than becoming a lawless gang of cells. I am not sure what the best metaphor for thinking about infection or cancer is, but surely it is worth imagining others rather than sticking to just one based on war as a metaphor.

Business is a Sport

I treat this at greater length in The Winning Weekend Warrior, but the basic idea is simple. Yes, there are many strategies and tactics from sports that apply to business. But there is at least one crucial difference. Sports are designed to be difficult. They typically require skill and training if you are to do well. The parameters of the sport are fixed at any given time though they will vary somewhat over time. In golf, for instance, the hole is small and the distances are great. Though the rules of golf are complex, there is one over-arching principle. If it would help you to do something, doing that thing is penalized.

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If golf were a business, many CEO’s would nonetheless approach it as a sport. They would try to hire the “best people” – that is, people with a proven track record of good golfing. They would then proceed to offer incentives for people to do even better. If people shot a high score repeatedly, they would be fired. Eventually, such a CEO might get good results by having skilled people who are well motivated and well trained. But why? If putting a golf ball in the hole is what gained you profit, simply shorten the fairways, widen the hole, and eliminate the hazards. Of course, as a sport this would make golf no challenge and no fun. Everyone could win. But having everyone win is exactly what you should do to maximize profit. Yet many in management are so taken with the “business is a sport” metaphor that they do not change the situation. Some do “change he game” and with spectacular results. Google and Amazon come to mind.

Politics is War

If you belong to a political party and believe the “other” party or parties are enemies to be destroyed, you are failing to understand the dialectic value that parties with different views can bring to complex situations. Life is a balanced dance between strict replication and structure on the one hand, and variation, exploration, and diversity on the other hand. A species who had no replication of structure from one generation to the next would die off. But so too would a species that had no variation because the slightest change in environment would also cause the species to die off. So it is with human cultures. If every generation had to start from scratch in determining what was edible, how to get along, how to avoid predators and so on, humans would have died out long ago. On the other hand, if a culture were completely unable to evolve and change, they would also die out. Typically, “conservative” parties want to keep things the same for longer and “liberal” parties want to change things more quickly. There is no obvious answer here. But what is vital is that members of each party see that there is value in the debate; in the dialogue; in the dialectic.

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The other party is not an enemy; it is the balance so that you can do what you do best. If you are predisposed toward exploration, science, new experiences, and so on, great! On the other hand, if you are more predisposed toward tradition and loyalty and repetition, great! If you did not have the people of the opposite predisposition, you would have to incorporate all that within yourself. Conservatives are what allows liberals to be liberal. And liberals are what allows conservatives to be conservatives. A huge problem arises, as it has recently in American politics, when one party decides they are just “right” all on their own and “victory” is worth lying, cheating, and stealing to get it. This is not unique to contemporary America of course. History is littered with administrations who were so convinced that they were “right” that they wanted to destroy all opposition. It has always ended badly. Politics is not war. (Though the failure of politics often leads to war.)

Of course, if a party really does treat all opposition as enemies to be jailed or executed, that’s no longer a “party” at all–that’s a gang of thugs. Throughout history, such gangs of thugs have also attempted to discredit and destroy any honest reporting about what the gang is doing and how it affects others.

UX is All that Matters vs. UX Does Not Matter. Development is war!

As you might guess, neither of these extreme positions is useful. Price matters. Time to market matters. Marketing matters. Having good sales people matters. Having excellent service matters. Having a good user experience matters. It all matters. Depending on the situation, various factors matter relatively more or less.

(Original artwork by Pierce Morgan)

As in the case of political ideologies, it is just fine for UX folks to push for the resources to understand users more deeply; to test interaction paradigms more thoroughly; to collect and observe from more and more users under a wider variety of circumstances. Similarly, while you are pushing for all that and doing your best to argue your case, remember that the other people who are pushing for tighter deadlines, and more superficial testing are not evil; they simply have different perspectives, payoffs, and responsibilities. Naturally, I hope the developers and financial people do not view UX folks as simply “roadblocks” to getting the product out quickly and cheaply either.

The first half of 2018, I tried to catalog many of the “best practices” in collaboration and teamwork. You might find some of these useful if you are embroiled in “UX wars.” You and your colleagues from other disciplines might also find it useful to consider that it is worth taking the time to affirm your common purpose and common ground. You are meant to work together. Development is not war.

Cancer Always Loses in the End

Where does your Loyalty Lie?

At Least he’s Our Monster

The Loud Defense of Untenable Positions

Essay on America: The Game

A Day From Hell

An Open Sore

All we Stand to Lose

Somewhere a Bird Cries

How the Nightingale Learned to Sing

The Ailing King of Agitate

After All

Tversky, A., & Kahneman, D. Judgment under uncertainty: Heuristics and biases. Science, 1974, 185, 1124-1131.

Regression to the Mean

21 Sunday Dec 2025

Posted by petersironwood in America, management, psychology, sports

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Regression to the Mean

selective focus photography of yellow leaves

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While working full-time at IBM Research, I was also a Fellow at the Institute for Rational-Emotive Therapy in Manhattan. I wrote an article in 1978 for their Journal, Rational Living. The title was: “Why Do I Self-Down? Because I’m an Idiot?” Indeed, many people put themselves down and it is not helpful. I hypothesized several different causes for this kind of self-slamming behavior. Most of these causes you could probably figure out on your own. But one in particular is subtle and non-intuitive. It is based on a statistical phenomenon which few people know about despite the fact that it is extremely pervasive. This phenomenon is called “Regression to the Mean.”

I want to define this term by explaining some examples. Imagine that you have a new soft drink which contains a combination of herbs that will purportedly make you smarter; e.g., gingko and bacopa. (There is some evidence these may actually work but let’s assume that they don’t or that your tea has too little to be effective). Here’s what you do to “prove” that it works anyway. You give an IQ test to 10,000 people and choose the 50 who score the lowest on the test and have them drink your tea for the next six months. At the end of that time, you give those 50 people an IQ test again and — Voila! The average (or mean) of the IQ scores has almost certainly gone up. Yay! It works!

Or does it? One of your competitors is not too happy about your study. In fact, they aren’t even happy you put your tea on the market. They decide to prove that your tea is not only ineffective but that it makes people less smart. So what do they do? They give an IQ test to 10,000 people and they pick the 50 who score the highest. They have them drink your tea for six months and at the end of that time, they have them take another IQ test. In this case, the mean (average) score is lower than the first time! Ouch! They say your tea causes brain damage!

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How can the same tea make people smarter and make them dumber? In this case, it does neither. What is going on? Here’s what is going on. When you measure something, there is always some error. Whether you are measuring your weight, your height, your blood pressure, or your IQ, the measurement is never exactly perfect. Your weight may vary slightly because of atmospheric pressure and more so because of water retention. If you take an IQ test, your score will partly reflect how well you do on such tests in general, but it will partly depend on luck. You may have felt particularly good that day, or a few of the questions might have been on topics you just heard about on TV the day before, or you may have made some lucky guesses. Or, you may have been unlucky on a particular day. You might have had a cold or misread one of the questions or forgotten your morning coffee. On any given day, some people will be a little lucky and some people will be a little unlucky. These things tend to balance out in a large group and if you tested all 10,000 people after six months, then assuming the tea has no real effect, no effect will be shown in the data.

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However, if you select the very best scores, you are partly picking smart people, of course, but you are also picking the people who were lucky that day. When you test just those people six months later, they will generally be just as smart but there is no reason to suppose they will be lucky again. Some will be lucky both times, most will not be particularly lucky or unlucky and a few will be unlucky. The average score will be lower. Conversely, if you choose the lowest scoring people, you will partly be choosing people who don’t do well on such tests in general. But you will also be choosing people who were tired, sick, guessed wrong or were otherwise unlucky that day. When you retest, those people will still tend to be people who do poorly on such tests, but they won’t necessarily all be unlucky again. Some will. Some won’t. On average, the scores will be higher than they were the first time.

The phenomenon of “Regression to the Mean” was first noted by Francis Galton in the 1880’s. Tversky and Kahneman, so far as I know, were the first to note that this phenomenon could easily cause managers, coaches, and parents to end up being unnecessarily negative. Here’s how it works. Let’s say you are learning to hit tennis serve. Although you will likely improve in general, over time, there will also be a lot of variation in your performance. Sometimes, everything will work well together and you’ll hit an excellent serve, one that is above your average level. At first, the coach’s natural inclination will be to praise this by saying, “Wow! Great serve!” or something like that. Unfortunately, your next serve, due to regression to the mean is very likely not to be quite as good as that one was. Your coach’s praising behavior was thereby punished. On the other hand, if you hit a particularly poor serve for your level, your coach might say, “Oh, come on. You can do better than that!” If they choose to say such things only on your very worst performances, then, due to regression to the mean, your next serve is likely to be somewhat better. In other words, their slamming you will be rewarded by your doing better the next time. The same general tendencies will apply to managers and parents as well.

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The same applies to you! Whatever you are doing, your performance will vary somewhat over time. If you begin by praising yourself internally whenever you hit a particularly great shot, your next shot will most likely be not so great. On the other hand, if you put yourself down when you find your performance particularly bad, “You idiot! How could you miss that!?” Your next shot will tend to be somewhat better. Over time, your positive self-talk will tend to be punished and your negative self-talk will tend to be rewarded.

It’s no wonder then that many managers, coaches, and parents end up saying very negative things about their charges. It’s also no wonder that many people say (or more likely think) many more negative things about themselves than they say positive things.

Is there anything to be done? First, simply be aware of this phenomenon. That is step one. If you are running a study, you need to be careful in selecting. The study about your tea could be fixed by re-testing the entire population; by selecting a random group of 50 rather than the best or worst; or by using a control group who did not drink tea but was retested anyway. When praising or punishing someone’s performance, do not bother with trying to reward or punish outcomes based on one trial. That’s actually a pretty poor way to coach yourself or others in any case. See The Winning Weekend Warrior for more on this. Also watch out for this when you read about various conclusions of other studies. Did the investigators select either the “best” or the “worst” for their study? If they did such a selection, did they talk about the bias this introduces? Did they have a control group?

Meanwhile, treat your mistakes as opportunities to learn, not as opportunities to put yourself down. There’s really no point in self-downing. But if you do find yourself self-downing, remember that it’s common; relax; smile at this human foible; then quit doing it. At least give yourself a break for the holidays.

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