Posts Tagged ‘strategy’

Thoughts on Tim Brown’s “Change by Design”

Tuesday, December 7th, 2010

Change by Design - Tim Brown

I wasn’t able to attend tonight’s Sydney UX Book Club where the topic for discussion was “Change by Design” by Tim Brown, however I read the book and wanted to share some of my thoughts and out-takes.

As the book-jacket states, “this is not a book by designers for designers”, instead it presents the concept of design thinking and provides a contextual look at how it can change business, services, and products.

As a brief overview, some of the suggestions from “Change by Design” are that:

  • briefs should evolve by defining initial constraints and goals that are revised as the understanding grows.
  • observing people on the margins or extremes of your audience can provide valuable insights.
  • inspiration, ideation and implementation are overlapping stages during a project.
  • divergent and convergent thinking are required for creating and making choices.
  • evaluating innovation with a “Ways to Grow” matrix demonstrates how a business can grow through incremental, evolutionary and revolutionary innovation.
  • a good place to begin design challenges is by asking “How might we..?”

Here are some of the quotes I found particularly interesting:

Today, rather than enlist designers to make an already developed idea more attractive, the most progressive companies are challenging them to create ideas at the outset of the development process. The former role is tactical; it builds on what exists and usually moves it one step further. The latter is strategic; it pulls “design” out of the studio and unleashes its disruptive, game-changing potential.

 

The natural evolution from design doing to design thinking reflects the growing recognition on the part of today’s business leaders that design has become too important to be left to designers.

 

The willing and even enthusiastic acceptance of competing constraints is the foundation of design thinking.

 

A culture that believes that it is better to ask forgiveness afterward rather than permission before, that rewards people for success but gives them permission to fail, has removed one of the main obstacles to the formation of new ideas.

 

The tools of conventional market research can be useful in pointing toward incremental improvements, but they will never lead to those rule-breaking, game-changing, paradigm-shifting breakthroughs that leave us scratching our heads and wondering why nobody ever thought of them before.

 

Our real goal … is helping people to articulate the latent needs they may not even know they have …

 

… observing “analogous” situations … will often jolt us out of the frame of reference that makes it so difficult to see the larger picture.

 

… a successful prototype is not one that works flawlessly; it is one that teaches us something …

 

Design is about delivering a satisfying experience. Design thinking is about creating a multipolar experience in which everyone has the opportunity to participate in the conversation.

 

Instead of accepting a given constraint, ask whether this is even the right problem to be solving. … A willingness to ask “Why?” … will improve the chances of spending energy on the right problems.

 

Curse deadlines all you want, but remember that time can be our most creative constraint.

Digital business model for music

Thursday, March 12th, 2009

Thanks to a tweet from @grantyoung I found a video of Michael Masnick’s (Floor64/Techdirt) “How Trent Reznor and NiN Represent the Future of the Music Business” case study from midem09.

The presentation looks at Trent Reznor’s business methods while with a major record label as well as once he struck out on his own – experimental actions that have generated awareness of Nine Inch Nails, made fans happy and have encouraged sales of his music. This is an area in which a lot of labels and bands have struggled recently, and with my personal passion for music, I was interested to see a view point on where music is headed.

music notes

Core ideas behind Michael Masnick’s presentation revolve around CwF (Connect with Fans) and RtB (Reason to Buy):

CwF + RtB = $$$$

Reznor’s CwF examples include:

  • certain characters were highlighted on the back of tour t-shirts that had to be put together to figure out a URL for a special web site.
  • USB keys loaded up with new music were left on the floors of venues. This music was then shared out by fans.
  • music was given away for free and encouraged to be remixed.
  • sampler packages of songs by opening bands on NiN tours were compiled and shared through the web site.
  • less obvious items were added to the web site such as:
    • aggregated photos from flickr and videos from youtube
    • wallpapers and images were provided under a creative commons license
    • remixing of songs was encouraged to involve people in the music
    • contests were held such as hiding tickets on the forums or physically planting free tickets at particular geo co-ordinates for people to find
    • email sent to fans made Trent Reznor seem human

Reznor’s RtB examples include:

  • physical CDs were sold that changed colour due to the rise in temperature when they were played in CD players – although the songs were also available for free, fans wanted the actual CDs because they couldn’t duplicate the functionality themselves.
  • CDs gave access to added benefits such as free downloads.
  • options were provided to fans – multiple editions of albums were released such as a deluxe edition package with DVD, Bluray disc and booklet, and an ultra deluxe edition with a limited print of 2,500 which were personally signed by Trent Reznor – people could choose the level of interest and pay (or take freely) as they chose.

Some key points from the presentation:

  • the date of release of free albums was timed to coincide with concert date announcements.
  • the $300 ultra deluxe edition sold out of 2,500 copies in less than 30 hours which means that people paid $750,000 for music that they also could have accessed for free.
  • price is not the issue as long as you can connect with fans.
  • you have to connect with fans all the time and experiment constantly.
  • the acronyms can also be considered as CwF (Compete with Free) and RtB (Return to Business, rather than complain about pirates and new technology).
  • you don’t need collective licensing, DRM, lawsuits, copyright.
  • giving people Reason to Buy can make it work for fans and musicians.
  • other bands can make this same formula work: CtW + RtB = $$$$

I personally think it can be a challenge for a band or musician to break through the noise but persistence, passion and an open nature can make you much more appealing for fans to hold on to.. quality of music of course provides a significant helping hand. Although I don’t want to be in a direct line of communication with my favourite bands (perhaps in the same way I’ve never wanted to line up to get an autograph from anyone famous), having the chance to hear work-in-progress material, see candid photos, or read about how a recording session is going makes me feel more involved and more interested in the end product.

Check out Michael Masnick’s presentation at YouTube.