Marsha Haverty Hi, this is Marsha. Marsha Haverty Thank you to our organizers and volunteers for giving us a way to create a conference everywhere. In this talk, I want to introduce a framework I call cadence layers to make sense of emerging design scenarios involving things like automations and intelligent systems. But first, we need to look at the nature of time. There's something nice about the fact that annual events correspond to the earth completing a trip around the sun, calendars and days reference the rhythms of our universe. But calendars are not from measuring time they're forgiving it rhythmic form, recurring weekly or monthly meetings. Seasonal and annual events help us coordinate our actions with others. Marsha Haverty But what about how time relates to design? Marsha Haverty Behavior unfolds over time. What about the way time feels to pass boredom and monotony, stretch out time. It feels slow. Rich events and new encounters make time feel like it flies. In his book The Magic Mountain Thomas Mann has this for us. emptiness and monotony may stretch a moment or even an hour and make it boring, but they can likewise abbreviate and dissolve large indeed the largest units of time until they see nothing at all. Conversely, rich and interesting events are capable of filling time until hours even days are shortened and speed passed on wings. Whereas on a larger scale interest lens the passage of time, breaths, solidity and weight, so that yours rich and events passed much more slowly than do paltry their featherweight years. They're blown before the wind and gone. So both boredom and monotony and rich events and new encounters have elements of both feeling slower and faster, and they get tugged at in either direction by things like ah, enjoy the rich, unfolding events of the pandemic have a weight to them. stretched even more by fear and awe. On Twitter, the month of March was cited as feeling like a year, a decade, an era. Marsha Haverty We also have the notion of the arrow of time running from the past through the present to into the future, permanently body cognition point of view, we don't need to array them like that. Instead, we focus on the way in which perception extends both into the past, as we retrospect on events with which we're tuned and prospecting into the future of what we might accomplish. Marsha Haverty All of this to say, time does not merely take by an event Stay with us. The feel of the passage of time is poetic, we may indeed try to influence it in very specific design situations. But I believe there's another aspect of time that is generally important to user experience. It's not the passage of time, but timing Looking at the ways in which rhythms of action materially impact experience gives us a powerful, powerful way to choreograph. Remember when we used to go out to restaurants, let's look at the way the waitstaff curates experience for clients by creating rhythms. The waitstaff engages timings of tempo and duration for table visits at the table establishing timings of consulting and exploring and observing about the menu. Clients attuned to these timings and create their own timings of relaxing and lingering and savoring, no matter how rushed they felt as they set. The waitstaff is also shielding the clients from the more production focused timings of food transformation in the kitchen schedule of reservations, consumption and simultaneity of needs across the tables. All of these timings together create the rhythms of restaurant time. Here's a quick model in the blue. We've got the clients arriving at the table feeling rushed in in the red are waitstaff generating the timings of consulting and we see that the timings of consulting can quickly take away the rush feeling and a tune with exploring and relaxing. But as the reservations kick in and simultaneity of knees at the tables, we've got less consulting and then the waitstaff engages other timings like sequencing to re establish the rhythms of restaurant time. It's easy to think there are only a handful of kinds of timings, duration, tempo, sequence simultaneity, but I want to give timing this definition, the way in which actors align their actions with dynamics in their surroundings. My definition is from an embodied cognition point of view. With this definition, we recognize many other kinds of timings, trajectory timings like transformation and consumption and perception. modes, exploring, consulting observing, exploring is a timing which aligns action in a very different way than the perception mode of converging, for example, Marsha Haverty And all of these participate in the rhythms that emerge. So, there are many kinds of timings, timings materially impact experience and bundle timings create rhythms. And by rhythm, I mean bundled timings that return in time and space. And because of the rhythms that the waitstaff curates at the table, the client attunes with those and because the waitstaff is also shielding the client from rhythms of schedule and processes. So bundle timings create rhythms that materially impact experience timings influence each other. Clock time is a tool of quantifying and measuring time it's a tool to coordinate complex social rhythms. We use schedules and deadlines and give our meetings frequency and duration to manage rhythms across many complex sets of timings or UX methodologies use clock time timings to coordinate rhythms of design. Marsha Haverty In Lean UX for example, frequency, schedule and duration of client reviews are highlighted. Marsha Haverty Lean UX make sure all the timings of concepting are influenced by timings and validating and timings of iterating. Relying on clock time to coordinate the rhythms of Lean UX. We see trajectory timings, refinement infidelity and accumulation, perception mode timings of concepting exploring associating balanced with presenting, listening reconciling information timings like class and instance and sequence and density timings like simultaneity. If the whole process of concepting and exploring is just a matter of transforming fidelity without reconciling, we generate a lot of risk. And a few client reviews here and there aren't going to move the needle that much. But if we really crank up the frequency of client reviews, we can ensure that we're amplifying the timing of reconciling and mitigating risk. Marsha Haverty So that was a good use of clock time to help curate rhythms, but clock time is indifferent to change. If all our other timings are completely subject to clock time, we fall into the trap of valuing units of time above all other timings. We worry about wasting time and time management or reality of social control. laxity means we need lots of clock time for coordination. But as designers and IaaS, we can ask the question, do our app notifications run only on clock time? Are there other timings our notification should interact with? What about our sentiment surveys and other engagements and our products and services? See it idea here is to curate healthy rhythms, to bundle timings with good mutual influences. And we'll talk about this later. But we can ask questions like, how can we create healthy rhythms for automations at scale? How can we create healthy rhythms for Intelligent Systems shifting the nature of our domains? Marsha Haverty So we have a lot to say about user experience time. It's not the passage of time, but timing the materially impacts experience. There are many kinds of timings timings influence each other clock Time is a tool to coordinate timings for complex groups. clock time is indifferent to change and bundle timings create rhythms of experience. So let's move to the next piece which will get us to the IAA that we need to think about emerging design scenarios. Where do these experience rhythms or bottle timings come from? From just a few points of light, we can pick up rhythms of action, a human throwing or walking or kicking. We can even pick up things about their proficiency and even their mood. Marsha Haverty We also pick up on rhythms of collective behavior. Marsha Haverty Collective behavior for team sports is fairly choreographed, but we pick up collective behavior rhythms in other settings. a music festival or a library have their own rhythms of collective behavior. rhythms of collective behavior emerge as timings are performed. Marsha Haverty On the left actors are tuning with the timings at dinnertime, picking up on what's appropriate by the other actors performing and helping to generate rhythms of diner time in their own participation. On the right, just some objects and Lance. Granted those objects and layouts have been crafted to facilitate diner time their artifacts of gender time. As Jared Spool says design is rendered intent, but they're not diner time itself that emerges as it's performed. Marsha Haverty We learned some of this in the 1950s Roger Barker, one of the earliest ecological or environmental psychologists set up a field station in a small town in Kansas in the United States because he believed if psychologists want to understand human behavior in the real world, they must enter the real world. Roger Barker's team observed the habits of children as they moved about They're small town, the actions of any given child changed dramatically across locations. And the actions were better predicted by whether the child by where the child was than anything about her as an individual and the actions had greater variability across locations than the actions of different children in the same location. Roger Barker called locations with these dramatic effects behavior settings. He focused on physical settings but a present day ecological psychologist Harry heft is showing that these patterns of joint action emerge in digital places and have summarizes this Marsha Haverty social practices are not carried out in Acts of single agents. A great deal of human action happens only in so far as the agent understands and constitutes herself as an integral part of wheat. So behavior settings focus collective behavior on what's good for the group. Now, if we bring timings into our behavior settings, let's say a classroom time, we could model the different kinds of timing that create rhythms of classroom time. These timings and rhythms don't just appear or didn't just appear all at once, and they don't stay the same. While practices exhibit regularities, they are fundamentally open. As they are enacted in context specific situations they are forced through reinterpretation and innovation that represents more than pure reproduction. Early performances of classroom time, had some pretty basic rhythms of observing and demonstrating. Marsha Haverty With performance comes refining and elaborating the timings based on collective values. Observing is refined and elaborated to include exploring and experimenting and locomoting. Marsha Haverty Innovating on what is Good for learning and demonstrating is refined with trajectories of maturation. Quizzes early in the year impact grades less than later in the year, and trajectories of reversibility, Marsha Haverty Opportunities to revise work. So our values are built into our rhythms. And each performance moves a group from what is to what ought to be. Collective action is an ongoing performance of good continuation. Marsha Haverty Mr. Rogers Neighborhood, a show in the US. Mr. Rogers himself was a wonderful modeler of the rhythms of behavior settings. And he made it okay to talk about what good continuation for a group of associated beings is like and about, and how it feels when we're attuned with good continuation, and we're more out of tune. So thanks to Mr. Barker's neighborhood, we have the notion of behavior settings. And thanks to social science, we have the idea of rhythms of social practice, and present ecological psychology. Good continuation, moving from what is to what ought to be. And now we have all the things we need for a concept about cadence. I want to use cadence in a very specific way. Social rhythms settled into steady states of good continuation or domain of practice. Marsha Haverty Runners, when they run a lot, they form rhythms of running OR gates. When an obstacle or stoplight disrupts a runner's gate, it doesn't break, she returns to it, she settles back into it, it's a steady state for her. In restaurant time, the staff tinkers with timings until rhythms settle into cadences or steady states for good continuous Like a runner escape the waitstaff know when they are out of tune and adjust their timings to fall back into. So now we have our full understanding of user experience time. Not the passage of time the timing materially impacts experience. There are many kinds of timings timings influenced each other. clock time is a tool to coordinate complex rhythms. clock time is indifferent to change and timings bundle into rhythms which settle into cadences or behavior settings. cadences emerged with performance. They are constrained by good continuation, moving the route from what is to what ought to be. They are stable, yet open. Marsha Haverty But actors don't engage in behavior setting always in forever, never randomly. Just as as Form cadences within a behavior setting, they form cadences across a behavior setting. Marsha Haverty Barn swallows have rhythms for the timings related to migrating things like flocking navigating, flying, foraging, resting, but they aren't migrating always in forever or never or randomly. They have rhythms for their timings across migrate migrating, and the other behavior settings to which they are attuned. And they form cadences across these things. Marsha Haverty But external behavior settings like human industrialization, forms timings that interfere with important timings, or barn swallows things like seasons and temperatures. And it shifts the cadences that barn swallows have across all of their behavior settings. barn swell okay senses are heavily constrained. Unlike barn swallows, we humans are not so attuned to timings of magnetic fields and temperatures that they influence where we go and when we create timings for each other. Institutions designed timings which bundle into rhythms which settle into cadences. Designed leadership teams have methods to create rhythms. Marsha Haverty Ours, for example, involves weekly tactical meetings monthly strategic meetings quarterly. Well, we have artifacts like rallying cries and defining objectives. But these are artifacts. When we really dig into the rhythms that are created. There are lots of different timings working together to keep them alive. There's a method to make sure we dwell in certain perceptual modes, existential strategic tactical, there's a method for how we use them. clock time and pace and form to make sure we assess trajectories of maturation and visit the tension between expansion and contraction of our activities, and lots of other perception modes. All of these timings are curated to create the rhythms of leadership team time. And these rhythms are stable. Our team feels the steady the steady cadence yet each performance is open in training with what good continuation is like and prospecting what it might be like. Marsha Haverty When that's one behavior setting, there are many others in our professional lives. And just as we form cadences within, we use timing to create rhythms across that fall into cadences. These are rhythms for shifting attunement from one set of timings to retune with another set of timings and another behavior setting. That's worked But if we zoom out of work time, and we think about all the other behavior settings to which we are tuned across our personal and professional lives, we see that we have cadences within a lot of these behavior settings, but cadence across is hard. It's hard to find transition timings that form rhythms of good continuation moving us across all the other behavior settings to which we are attuned in our personal and professional lives are rhythms across are more often hard stops and starts and lots of overlap. And that's just normal time. Now we're in pandemic. pandemic time breaks cadences across and within our behavior settings. It destroys form timings of geographic spacing and sequence of our behavior settings, adding timings of physical overlap and simultaneity. What new time Give cadence for hiking or commuting to work. Grocery Store time has lots of new timings and a very different notion of good continuation, minimizing trips preventing infection. within and across all our behavior settings, we're asking ourselves what is good continuation even about anymore? What new cadences might form? But we know it's not just bad things that create dramatic change. Thomas Kuhn describes stages of paradigm change for scientific theory, and our own Flavia. lasorda has a framework for how disciplines like AI a reframe. I want to look at paradigm change from a timings lens, the cadence of change for good continuation, and that gives us our third cadence layer. And we need this one to look at cadences for things like intelligent systems. So we can say that every day Main practice has three cadence layers. Task cadence is cadence within a behavior setting and it involves performance timings, domain cadence is cadence across behavior settings for a domain of practice timings there are about transitions rhythms of how actors a tune from one behavior setting to the next. And paradigm cadence is the cadence of change of good continuation for a domain. paradigm canons is where we can connect to Stuart brands paste layers. Paste layers show the relative difference in rate of change of paradigms for different scopes. Nature has the most stability it changes at the slowest rate. Governance changes at a slower rate than commerce or fashion and fashion has a rapid pace of change. Marsha Haverty Pace layers are describing some timings of paradigm cadence. And now that we have the cadence layers, we can look at different design scenarios. There are a lot of different apps out there for learning a new subject or a healthy practice. But often the notifications that remind us to practice are clock time. They're indifferent to the cadences within and across our other behavior settings. But some apps like this wake up app, have notifications with timings that act like a system, this app measure sleep cycles, and it has trajectory timings for deep sleep and shallow sleep and factors those into the final wakeup time. Marsha Haverty Clock time has influence but doesn't dictate the rhythms that emerge. So the question is, how might we create notifications with timings that are influenceable by other rhythms to which our actors are tuned let's look at more complex automations across both task and domain cadences. I'll use a domain I know from working in Autodesk industrial product design and manufacturing. Now, these are just some examples of behavior settings from this domain, production time design and engineering employee engagement equipment lifecycle, everything that goes into our domain of practice for our, our customers. But let's zoom in on one particular behavior setting design and engineering. Marsha Haverty There are groupings of timings, things like modeling, evaluating production, prep, documenting and sharing intent. And here are just some examples of the kinds of timings that influence each other across this behavior setting. Now a mechanical designer experiences some simultaneity with the creative activity and exploration of modeling and the need to engage timings of prioritizing and synthesizing while they're documenting intent from the design. Marsha Haverty And there's a tension here at the boundary. The timings of modeling include a continuity and tempo in intensity along with creating an exploring and narrowing, but documenting intent, creating a drawing to document the design has different timings that dampen the timings that create the rhythms of modeling. So what if we automated documentation? Well, the effect of that dampens the influence of simultaneity which then amplifies the rhythms of modeling time. And this shift in these rhythms this use of automation elaborates and refines the rhythms of design and engineering time towards Good continuation for the domain. Now, let's say we automate evaluating time, timings, things like analyzing simulating performance, inevitability, longevity trajectories. And let's say the evaluation algorithms take into account both requirements for the current design and the actual performance for similar designs out there in the world. Now, the actor is focused on choreographing rhythms across these two behavior settings, worrying about evaluating algorithms, attuning with the sensor data on the actual working machines. So, a single automation can reach signal strength and actually impact domain cadence. Marsha Haverty And similarly, if we have many small automations that eventually span an entire behavior setting, those two will impact domain cadence. So we see a few ways how it was a few ways in which automations its scale can shift actors to higher cadence layers. The actors go from a tuning within their behavior settings to choreographing across behavior settings that they didn't interact with in the past. Marsha Haverty Now, a lot of our intelligence systems perform within behavior settings. But as they become more sophisticated, they'll start performing across behavior settings, elaborating and finding what good continuation is like so quickly that they stand to effect Caden cadences of paradigm change. Marsha Haverty And instead of leaving The domains of practice to just react to this change. How might we help Intelligent Systems create rhythms for change? How might we keep Intelligent Systems attuned with good continuation for a domain? Stuart Brands paste layers gives us some timings for paradigm change rate and longevity. As Intelligent Systems find patterns across the domain nuancing and elaborating at rates beyond comprehension, we may not understand the concepts of change, but how can we give them timing so that we see the rhythms of change? What other timings can capture those rhythms of change for intelligence systems? And even if we can give intelligence systems timings to show their rhythms of change, can we also give actors ways to influence them amplify them or dampen them, nudging them to perform toward good continuation for the domain. So to sum up the cadence layers, for intelligence systems, things about thinking about the frameshift timings that reveal the timings of chain that reveal the rhythms of change. So we need to think about what friendship timings are involved, and how we might help reveal those rhythms of change for good continuation. And for automations, we can look at automate our automations reaching domain signal strength, our actors now needing to choreograph across behavior settings, whereas before they were just performing within behavior settings, and how can we help them with that with those timings? And we always need to consider how we're using clock time. Is it for coordinating or is it for dictating? Marsha Haverty So, I have a few things to sum up for you at the end here. I've got user experience time, the cadence layers, and thoughts about how to model the cans layers. Marsha Haverty So we've got our summary of user experience time here that we've seen before. And we've got our collection of the three cans layers, and a few examples of design scenarios and how they kind of go up and down and across the different layers and some things that we need to think about. But then there's also this thought about how do we go about modeling the cadence layers? Well, if you wish to model the cadence layers, you must start with the domain. Consider the granularity of the behavior settings while you're modeling it. Which behavior settings are in scope or out of scope of your business. Guess what is good continuation like within behavior settings and across them for your domain of interest. And then model the timings within and across the important behavior settings. Think about how the timings can be granular and specific to each setting. I have a little set of starter set of timing. So if you have any interest, please reach out we'll talk about timings and then find a way to make them all move to see the rhythms emerge. And how can your timings a tune with existing rhythms or how can your timings influence new rhythms? and as always look at clock time is it coordinating? Or is it dictating and here are my references and one closing thought every setting has timings and as designers and IAS How might we help curate timings which bundle into rhythms which settle into cadences for actors performing toward good continuation? Marsha Haverty Thank you Transcribed by https://otter.ai