Category: Blog

Your blog category

  • Thunderbolts* Writer Reveals Who the Original Villain Almost Was and Other Marvel Secrets

    Thunderbolts* Writer Reveals Who the Original Villain Almost Was and Other Marvel Secrets

    This article contains THUNDERBOLTS* SPOILERS. Back in 2009, a still-nascent Marvel Studios launched the Marvel Writers Program in which the studio selected a small group of promising new screenwriters to literally sit in the company’s offices for a year and develop different projects based on the vast Marvel canon. Some of the scribes who toiled […]

    The post Thunderbolts* Writer Reveals Who the Original Villain Almost Was and Other Marvel Secrets appeared first on Den of Geek.

    In 1988, a recently-retired U.S. Air Force Office of Special Investigations (OSI) agent claimed on live television that the government was working with aliens at a secret base in the Nevada desert called Area 51 and that the “extraterrestrials have complete control of this base.” In the program, the producers blacked out the OSI agent’s face, and he went by the codename “Falcon.”

    The agent’s actual name is Richard Doty. It’s listed on the IMDb page for the show. Doty has admitted that during his career as an OSI agent, beginning in 1980, he had been sharing disinformation about aliens and UFOs with the UFO community. Within weeks of the airing of the live UFO program, a man in Nevada named Bob Lazar approached reporters in Las Vegas claiming he had worked on alien spacecraft at Area 51. Despite lacking evidence, Lazar’s claims made headlines, and Area 51, then one of United States’ most secret military bases, quickly became its most famous.

    Stories like this leave me wondering how much of the UFO mythos is disinformation created by the U.S. government and why. It sounds like another UFO conspiracy theory, but Congress is interested in this question also. They require that the Pentagon’s current UAP investigation program, the All-Domain Anomaly Resolution Office (AARO), produce a report that includes “the key historical record of the involvement of the intelligence community with unidentified anomalous phenomena, including… any efforts to obfuscate, manipulate public opinion, hide, or otherwise provide incorrect unclassified or classified information about unidentified anomalous phenomena or related activities.”

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Is there any reason to believe the U.S. government has deceived the public about UFOs? Mr. Doty’s story is not well known, but the CIA has admitted to deceiving the public about UFOs in a study published by the CIA journal Studies in Intelligence titled “A Die-hard Issue: CIA’s Role in the Study of UFOs, 1947–1990.”

    According to the study, much like today, credible UFO sightings in the late 1940s and early 1950s brought media attention to the topic. This pressured the U.S. Air Force into creating UFO investigation programs and the CIA to discreetly monitor the situation. The CIA didn’t want attention to the fact that it was monitoring UFO reports and interfacing with the U.S. Air Force on the matter, so both organizations chose to lie about it. The report states, “This concealment of CIA interest contributed greatly to later charges of a CIA conspiracy and cover-up.”

    The problem worsened in the late ’50s when testing of U-2 spy planes began. The aircraft flew much higher than any others at the time, and the prototypes were highly reflective, causing a spike in reports to the USAF UFO research program at the time, Project Blue Book. The CIA later estimated half of the UFO reports during this time were due to U-2 aircraft. The report claims, “This led the Air Force to make misleading and deceptive statements to the public in order to allay public fears and to protect an extraordinarily sensitive national security project.”

    The report also covers the CIA’s involvement with a University of Colorado review of UFO information in the late ’60s, which led to the USAF closing Project Blue Book and exiting public UFO research completely. Both agencies decided to keep the CIA’s involvement in the report hidden.

    Even Roswell was a cover-up, albeit not of the extraterrestrial kind. Unfortunately, the first volume of the AARO report whitewashes this event. According to the AARO report, in the 1990s, “USAF’s research did not locate or develop any information that indicated the ‘Roswell Incident’ was a UFO event, nor was there any ‘cover-up’ by the USG.”

    It goes on to explain how the USAF found that the debris collected in the desert in 1947 was part of a classified project to listen for Russian nuclear testing called Project Mogul. It does not include the fact that the USAF’s research also found that the person in charge of researching the material, General Roger Ramey, had taken it upon himself to hide that the debris was part of a classified project. Instead, he told the press they had found an ordinary weather balloon and switched out the actual debris before taking press photos.

    According to the 1995 USAF Roswell report, “the Air Force did not find documented evidence that Gen. Ramey was directed to espouse a weather balloon in his press conference, he may have done so because he was either aware of Project MOGUL and was trying to deflect interest from it, or he really perceived the material to be a weather balloon based on the identification from his weather officer, Irving Newton.”

    Ramey’s Chief of Staff, Colonel Thomas DuBose, who can be seen in one of the photos, claimed in an affidavit, “the material shown in the photographs taken in Gen. Ramey’s office was a weather balloon. The weather balloon explanation for the material was a cover story to divert the attention of the press.”

    DuBose does not claim to have seen or known anything about the material that the USAF found. Still, Ramey’s switching out of the material and DuBose’s statement help fuel Roswell’s conspiracy theories to this day.

    This brings us back to Doty, who is the first source of the claim that the USAF took alien bodies to Area 51. He did so in a document claiming a cabal of influential people inside and outside of the government controls UFOs and alien secrets. If this sounds like the X-Files, it’s because the show was allegedly based on Doty’s stories.

    In late 1980, Doty worked at Kirtland Air Force base in Albuquerque, New Mexico. Only months after beginning his position as an OSI agent, a local technical equipment vendor and paranormal enthusiast, Paul Bennewitz, claimed to be getting images and signals from UFOs over the base. According to documents I and others have received via Freedom of Information Act (FOIA) requests, Doty and another agent looked at what Bennewitz had found but didn’t see anything worth researching.

    Doty claims that someone in the Defense Intelligence Agency (DIA) approached him soon after meeting with Bennewitz. Doty refers to the DIA agent with the codename “Falcon”—the same name he later used on the TV show mentioned earlier. According to Doty, Falcon wanted Doty to feed disinformation to Bennewitz and make Bennewitz believe what he saw was aliens. Falcon said Bennewitz was capturing signals and videos of top-secret activity at the base, and the disinformation was intended to throw off Bennewitz and any Russian spies that might be monitoring him.

    There is no evidence that Falcon exists or that Doty was ordered to conduct his disinformation program against Bennewitz, but it was effective and drove Bennewitz into a dangerous mental state. Even worse, the disinformation Doty spread and its amplification by the X-Files has created mythos that may even fool government insiders.

    The FBI investigated some of Doty’s documents and asked the U.S. Air Force what they knew. The documents were returned with the word “BOGUS” written on them in thick black marker. But the question isn’t whether they are bogus. The question is why they came from an active OSI agent—a question still unanswered.

    In an op-ed for Scientific American earlier this year, former AARO Chief Sean Kirkpatrick wrote: “…our efforts were ultimately overwhelmed by sensational but unsupported claims that ignored contradictory evidence yet captured the attention of policy makers and the public, driving legislative battles and dominating the public narrative.”

    I agree with Kirkpatrick regarding the negative effect “sensational but unsupported claims” are having on moving UAP research forward. However, the government has to be open and cooperative as well and needs to investigate and take responsibility for its role in UAP disinformation.

    The post Why The Pentagon Needs to Address UFO Disinformation appeared first on Den of Geek.

  • Line of Duty Only Returning If ‘There’s a Story to Tell’. Sadly, There’s No Shortage

    Line of Duty Only Returning If ‘There’s a Story to Tell’. Sadly, There’s No Shortage

    Nearly four years after Line of Duty’s sixth season ended on a final ( ish ) note, there is speculation about the BBC crime thriller’s rumored return. That means cast members are once more “breaking their silence,” exclusively revealing “little of the truth” to outlets like The Sun ( who previously scooped a three-part special that ]…]

    The only time Line of Duty returns is when” There’s a Story to Tell.” Unfortunately, There’s No Deficit appeared first on Den of Geek.

    A recently retired U.S. Air Force Office of Special Investigations ( OSI) agent made the claim on live television in 1988 that the government was working with aliens at a secret base in Area 51 in the Nevada desert and that the aliens have complete control of this base. The manufacturers blacked out the OSI agent’s experience in the program” and he went by the name Falcon. &#8221,

    The agent’s real name is Richard Doty, but it is not. It is listed on the show’s IMDb section as #8217. Doty has acknowledged that he had been sharing misinformation about creatures and UFOs with the UFO area during his time working as an Ios broker, beginning in 1980. A person in Nevada named Bob Lazar allegedly claimed to have worked on alien aircraft at Area 51 within days of the playing of the life UFO system. Area 51, one of the next most secret military bases in the United States, immediately became its most well-known despite lacking any supporting proof. Lazar&#8217, s claims made headlines.

    Reports like this make me wonder how much of the UFO mythology was created by the US government, and why. Although it sounds like another UFO crime theory, Congress is even interested in this one. They demand that the Pentagon’s current UAP investigation program, the All-Domain Anomaly Resolution Office ( AARO ), produce a report that includes &#8220, the key historical account of the intelligence community’s involvement with unidentified anomalous phenomena, including… any efforts to obfuscate, manipulate public opinion, conceal, or otherwise provide incorrect unclassified or classified information about unidentified anomalous phenomena or related activities. &#8221,

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    Is there any reason to believe that the United States government has misled the public regarding Sightings? Although Mr. Doty’s history is not well known, the CIA has admitted lying to the public about Creatures in a research published by the CIA&nbsp, book Research in Intelligence, titled &#8220, A Die-hard Matter: CIA&#8217, s Role in the Study of UFOs, 1947–1990. &#8221,

    In the late 1940s and early 1950s, reliable UFO observations, in the opinion of the study, were a major focus for the internet. Due to this, the CIA and the U.S. Air Force were forced to launch UFO analysis programs&nbsp. Both companies chose to lie about it because the CIA didn’t want people to know that it was monitoring UFO information and speaking with the US Air Force about it. This hiding of CIA interests, according to the review, was significant in the development of further allegations of a CIA crime and cover-up. &#8221,

    When U-2 spy plane checking began in the late 1950s, the issue only got worse. The models were extremely reflective, which heightened the number of studies to the USAF UFO analysis program at the time, Project Blue Book, and the plane flew much higher than any other ones at the time. Eventually, the CIA estimated that U-2 plane were to blame for half of the reported UFOs during this period. According to the report, this allegedly led the Air Force to make false and misleading statements to the general public in order to quell public concern and safeguard a highly delicate national security project. &#8221,

    The report also includes the CIA’s participation in a University of Colorado late 1960s UFO review that resulted in the USAF shutting Project Blue Book down and completely ejecting people UFO research. Both organizations made the decision to keep the CIA’s role in the statement secret.

    Also Roswell was a cover-up, though not of the interplanetary type. However, the AARO report‘s second volume whitewashes this occasion. According to the AARO record, in the 1990s, &#8220, USAF&#8217, s study did not find or create any data that indicated the &#8216, Roswell Incident&#8217, was a UFO event, nor was there any &#8216, cover-up&#8217, by the USG. &#8221,

    It goes on to explain how the USAF discovered that Project Mogul, a defined venture to monitor Russian nuclear tests, was a result of the dust collected in the plain in 1947. It does not include the fact that the USAF&#8217 research also revealed that General Roger Ramey, the person in charge of researching the material, had taken it upon himself to conceal that the debris was a classified project. He instead stated to the press that they had discovered a typical weather balloon before turning the debris out before taking any press photos.

    The Air Force may have chosen to use a weather balloon at his press conference because he was aware of Project MOGUL and was trying to deflect interest from it, or because he actually believed the material to be a weather balloon based on the identification from his weather officer, Irving Newton, according to the 1995 USAF Roswell report, &#8220. &#8221,

    Colonel Thomas DuBose, Ramey’s Chief of Staff, who can be seen in one of the photos, claimed in an affidavit that the material contained in the photos taken at Gen. Ramey’s office was a weather balloon. The material’s explanation in a weather balloon was used as a cover story to stifle the press. &#8221,

    DuBose does not make any claims regarding the information that the USAF discovered. Even so, Ramey’s removal from the source material and DuBose’s statement contribute to Roswell’s conspiracy theories to this day.

    Doty is the first person to claim that the USAF brought alien bodies to Area 51, which brings us back to Doty. He did this in a document asserting that a cabal of powerful individuals both inside and outside the government controls alien secrets and UFOs. Because the show was allegedly based on Doty &#8217, s stories, if this sounds like the X-Files, that is.

    Doty started his employment at the Kirtland Air Force base in Albuquerque, New Mexico, in the summer of 1980. A local technical equipment vendor and paranormal enthusiast, Paul Bennewitz, who had just started his position as an OSI agent, claimed to be receiving images and signals from UFOs over the base shortly after taking over the position. Doty and another agent looked at what Bennewitz had discovered, but they didn&#8217, based on documents I and others have received through requests for the Freedom of Information Act ( FOIA ) and didn’t find anything worthwhile to investigate.

    Doty claims that shortly after meeting with Bennewitz, someone from the Defense Intelligence Agency ( DIA ) approached him. Doty refers to the DIA agent by the moniker” Falcon” or” Falcon” ( which he later used in the TV show mentioned earlier ) and is now known as. Doty claimed that Falcon wanted Doty to spread false information to Bennewitz so that he could convince him that what he saw were aliens. Falcon claimed that Bennewitz was capturing images and signals of top-secret activity at the base, and that the disinformation was intended to discredit him and any Russian spies who might be monitoring him.

    No proof that Falcon exists or that Doty was given the order to launch his disinformation operation against Bennewitz, but it succeeded and put him in a perilous mental state. Even worse, the X-Files ‘ propagandization of disinformation has led to mythos that could even fool government insiders.

    The FBI questioned some of Doty &#8217, s documents and questioned the U.S. Air Force about what they knew. The words” BOGUS” and” &#8220,” respectively, were written on the returned documents in thick, black marker. However, the issue is not whether they are false. Why did they originate from an active OSI agent is still a mystery.

    Former AARO Chief Sean Kirkpatrick wrote in an op-ed for Scientific American earlier this year that “our efforts were ultimately overshadowed by sensational but unsupported claims that ignored contradictory evidence but attracted the attention of policy makers and the public, causing legislative battles and dominating the public narrative. &#8221,

    I concur with Kirkpatrick on the detrimental impact that sensational but unsupported claims like 8221 have on moving UAP research forward. The government must be transparent and cooperative as well, and it needs to look into and accept responsibility for its role in UAP disinformation.

    Why The Pentagon Needs to Address UFO Disinformation first appeared on Den of Geek.

  • Squid Game Season 3 Teaser Reveals the Return of Controversial Characters

    Squid Game Season 3 Teaser Reveals the Return of Controversial Characters

    Squid Game season 2 had everything fans of the first season wanted to see again and then some. Seong Gi-hun’s (Lee Jung-jae) return to the titular games as Player 456 featured a fresh batch of deadly schoolyard contests, the evolution of old enemies like “Front Man” Hwang In-ho (Lee Byung-hun), and a new crop of […]

    The post Squid Game Season 3 Teaser Reveals the Return of Controversial Characters appeared first on Den of Geek.

    In 1988, a recently-retired U.S. Air Force Office of Special Investigations (OSI) agent claimed on live television that the government was working with aliens at a secret base in the Nevada desert called Area 51 and that the “extraterrestrials have complete control of this base.” In the program, the producers blacked out the OSI agent’s face, and he went by the codename “Falcon.”

    The agent’s actual name is Richard Doty. It’s listed on the IMDb page for the show. Doty has admitted that during his career as an OSI agent, beginning in 1980, he had been sharing disinformation about aliens and UFOs with the UFO community. Within weeks of the airing of the live UFO program, a man in Nevada named Bob Lazar approached reporters in Las Vegas claiming he had worked on alien spacecraft at Area 51. Despite lacking evidence, Lazar’s claims made headlines, and Area 51, then one of United States’ most secret military bases, quickly became its most famous.

    Stories like this leave me wondering how much of the UFO mythos is disinformation created by the U.S. government and why. It sounds like another UFO conspiracy theory, but Congress is interested in this question also. They require that the Pentagon’s current UAP investigation program, the All-Domain Anomaly Resolution Office (AARO), produce a report that includes “the key historical record of the involvement of the intelligence community with unidentified anomalous phenomena, including… any efforts to obfuscate, manipulate public opinion, hide, or otherwise provide incorrect unclassified or classified information about unidentified anomalous phenomena or related activities.”

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Is there any reason to believe the U.S. government has deceived the public about UFOs? Mr. Doty’s story is not well known, but the CIA has admitted to deceiving the public about UFOs in a study published by the CIA journal Studies in Intelligence titled “A Die-hard Issue: CIA’s Role in the Study of UFOs, 1947–1990.”

    According to the study, much like today, credible UFO sightings in the late 1940s and early 1950s brought media attention to the topic. This pressured the U.S. Air Force into creating UFO investigation programs and the CIA to discreetly monitor the situation. The CIA didn’t want attention to the fact that it was monitoring UFO reports and interfacing with the U.S. Air Force on the matter, so both organizations chose to lie about it. The report states, “This concealment of CIA interest contributed greatly to later charges of a CIA conspiracy and cover-up.”

    The problem worsened in the late ’50s when testing of U-2 spy planes began. The aircraft flew much higher than any others at the time, and the prototypes were highly reflective, causing a spike in reports to the USAF UFO research program at the time, Project Blue Book. The CIA later estimated half of the UFO reports during this time were due to U-2 aircraft. The report claims, “This led the Air Force to make misleading and deceptive statements to the public in order to allay public fears and to protect an extraordinarily sensitive national security project.”

    The report also covers the CIA’s involvement with a University of Colorado review of UFO information in the late ’60s, which led to the USAF closing Project Blue Book and exiting public UFO research completely. Both agencies decided to keep the CIA’s involvement in the report hidden.

    Even Roswell was a cover-up, albeit not of the extraterrestrial kind. Unfortunately, the first volume of the AARO report whitewashes this event. According to the AARO report, in the 1990s, “USAF’s research did not locate or develop any information that indicated the ‘Roswell Incident’ was a UFO event, nor was there any ‘cover-up’ by the USG.”

    It goes on to explain how the USAF found that the debris collected in the desert in 1947 was part of a classified project to listen for Russian nuclear testing called Project Mogul. It does not include the fact that the USAF’s research also found that the person in charge of researching the material, General Roger Ramey, had taken it upon himself to hide that the debris was part of a classified project. Instead, he told the press they had found an ordinary weather balloon and switched out the actual debris before taking press photos.

    According to the 1995 USAF Roswell report, “the Air Force did not find documented evidence that Gen. Ramey was directed to espouse a weather balloon in his press conference, he may have done so because he was either aware of Project MOGUL and was trying to deflect interest from it, or he really perceived the material to be a weather balloon based on the identification from his weather officer, Irving Newton.”

    Ramey’s Chief of Staff, Colonel Thomas DuBose, who can be seen in one of the photos, claimed in an affidavit, “the material shown in the photographs taken in Gen. Ramey’s office was a weather balloon. The weather balloon explanation for the material was a cover story to divert the attention of the press.”

    DuBose does not claim to have seen or known anything about the material that the USAF found. Still, Ramey’s switching out of the material and DuBose’s statement help fuel Roswell’s conspiracy theories to this day.

    This brings us back to Doty, who is the first source of the claim that the USAF took alien bodies to Area 51. He did so in a document claiming a cabal of influential people inside and outside of the government controls UFOs and alien secrets. If this sounds like the X-Files, it’s because the show was allegedly based on Doty’s stories.

    In late 1980, Doty worked at Kirtland Air Force base in Albuquerque, New Mexico. Only months after beginning his position as an OSI agent, a local technical equipment vendor and paranormal enthusiast, Paul Bennewitz, claimed to be getting images and signals from UFOs over the base. According to documents I and others have received via Freedom of Information Act (FOIA) requests, Doty and another agent looked at what Bennewitz had found but didn’t see anything worth researching.

    Doty claims that someone in the Defense Intelligence Agency (DIA) approached him soon after meeting with Bennewitz. Doty refers to the DIA agent with the codename “Falcon”—the same name he later used on the TV show mentioned earlier. According to Doty, Falcon wanted Doty to feed disinformation to Bennewitz and make Bennewitz believe what he saw was aliens. Falcon said Bennewitz was capturing signals and videos of top-secret activity at the base, and the disinformation was intended to throw off Bennewitz and any Russian spies that might be monitoring him.

    There is no evidence that Falcon exists or that Doty was ordered to conduct his disinformation program against Bennewitz, but it was effective and drove Bennewitz into a dangerous mental state. Even worse, the disinformation Doty spread and its amplification by the X-Files has created mythos that may even fool government insiders.

    The FBI investigated some of Doty’s documents and asked the U.S. Air Force what they knew. The documents were returned with the word “BOGUS” written on them in thick black marker. But the question isn’t whether they are bogus. The question is why they came from an active OSI agent—a question still unanswered.

    In an op-ed for Scientific American earlier this year, former AARO Chief Sean Kirkpatrick wrote: “…our efforts were ultimately overwhelmed by sensational but unsupported claims that ignored contradictory evidence yet captured the attention of policy makers and the public, driving legislative battles and dominating the public narrative.”

    I agree with Kirkpatrick regarding the negative effect “sensational but unsupported claims” are having on moving UAP research forward. However, the government has to be open and cooperative as well and needs to investigate and take responsibility for its role in UAP disinformation.

    The post Why The Pentagon Needs to Address UFO Disinformation appeared first on Den of Geek.

  • GTA 6 Trailer 2 Breakdown: Voice Actors, Soundtrack, and Easter Eggs You May Have Missed

    GTA 6 Trailer 2 Breakdown: Voice Actors, Soundtrack, and Easter Eggs You May Have Missed

    The next teaser for Grand Theft Auto 6 was released by Rockstar Games during essentially the most arbitrary Tuesday you could think of. Check out the new teaser below if you haven’t yet seen it. The good news is that the fresh GTA 6 truck has much more substance than the original game.

    The second postGTA 6 Video 2 Break: Voice Actors, Soundtrack, and Easter Eggs You May Have Missed appeared initially on Den of Geek.

    A recently retired U.S. Air Force Office of Special Investigations ( OSI) agent claimed on live television in 1988 that the government was working with aliens at a secret base in Area 51 of the Nevada desert and that the &#8220, extraterrestrials have complete control of this base. The suppliers blacked out the OSI agent’s experience in the program, and he adopted the name Falcon instead. &#8221,

    Richard Doty, the agent’s real title, is what it is. It is listed on the show’s IMDb section as #8217. Doty has acknowledged that he had been spreading false information about creatures and UFOs to the UFO area during his time working as an Ios agent, beginning in 1980. A person in Nevada named Bob Lazar allegedly claimed to have worked on alien aircraft at Area 51 within days of the playing of the life UFO system. Area 51, one of the next most secret military bases in the United States, immediately became its most well-known despite lacking any supporting proof. Lazar&#8217, s claims made headlines.

    Reports like this make me wonder how much of the UFO mythology was created by the US government, and why. Congress is even interested in this subject, despite the fact that it resembles another UFO conspiracy idea. They demand that the Pentagon’s current UAP investigation program, the All-Domain Anomaly Resolution Office ( AARO ), produce a report that includes &#8220, the key historical account of the intelligence community’s involvement with unidentified anomalous phenomena, including… any efforts to obfuscate, manipulate public opinion, conceal, or otherwise provide incorrect unclassified or classified information about unidentified anomalous phenomena or related activities. &#8221,

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    Is there any reason to believe that the United States government misled the public about Creatures? Although Mr. Doty’s history is not well known, the CIA has admitted lying to the public about Creatures in a research published by the CIA&nbsp, book Research in Intelligence titled &#8220, A Die-hard Matter: CIA&#8217, s Role in the Study of UFOs, 1947-1990. &#8221,

    In the late 1940s and early 1950s, reliable UFO observations, in the opinion of the study, were a major focus for the internet. Due to this, the CIA and the U.S. Air Force were forced to launch UFO research programs&nbsp. The CIA didn’t want people to know that it was monitoring UFO reports and speaking with the U.S. Air Force about it, so both companies decided to lie about it. According to the report,” This hiding of CIA interest significantly contributed to eventually accusations of a CIA crime and cover-up,” &#8221,

    When checking of U-2 detective planes began in the late 1950s, the issue got worse. The models were extremely reflective, which heightened the number of studies to the USAF UFO analysis program at the time, Project Blue Book, and the plane flew much higher than any other ones at the time. The CIA afterward estimated that U-2 aircraft were to blame for half of the UFO information during this period. According to the report, this allegedly led the Air Force to make false and misleading statements to the general public in order to quell people fears and safeguard an extremely delicate national security project. &#8221,

    The report also includes the CIA’s participation in a University of Colorado late 1960s UFO review that resulted in the USAF shutting Project Blue Book down and completely ejecting open UFO research. Both organizations made the decision to keep the CIA’s role in the review secret.

    Also Roswell was a cover-up, though not of the interplanetary type. However, the AARO report‘s second volume whitewashes this occasion. According to the AARO record, in the 1990s, &#8220, USAF&#8217, s study did not find or create any data that indicated the &#8216, Roswell Incident&#8217, was a UFO event, nor was there any &#8216, cover-up&#8217, by the USG. &#8221,

    The USAF then goes on to explain how Project Mogul, a defined program to monitor Russian nuclear testing, was the subject of the report. It does not include the reality that the USAF&#8217 research also revealed that General Roger Ramey, the person in charge of researching the material, had taken it upon himself to conceal that the particles was a defined project. He rather stated to the press that they had discovered a typical weather balloon and had removed the true debris before taking any press photos.

    The Air Force does have chosen to use a weather balloon at his press conference because he was aware of Project MOGUL and was trying to divert attention from it, or because he actually believed the material to be a weather bubble based on the recognition from his weather officer, Irving Newton, according to the 1995 USAF Roswell report, &#8220. &#8221,

    Colonel Thomas DuBose, Ramey’s chief of staff, can be seen in one of the photos, claimed in an affidavit that the material in the photos taken at Gen. Ramey’s office was a weather balloon. The material’s explanation of the weather balloon served as a cover story to divert the press’s attention. &#8221,

    DuBose does not make any claims regarding the information that the USAF discovered. Despite this, DuBose’s statement and Ramey’s switching out of the material continue to support Roswell’s conspiracy theories.

    Doty is the first person to claim that the USAF took alien bodies to Area 51. This brings us back to Doty. He claimed in a document that a cabal of powerful individuals both inside and outside the government controls aliens and secrets. Because the show was allegedly based on Doty &#8217, s stories, if this sounds like the X-Files, that is.

    Doty was employed at the Albuquerque, New Mexico-based Kirtland Air Force base in late 1980. A local technical equipment vendor and paranormal enthusiast, Paul Bennewitz, who had just started his position as an OSI agent, claimed to be receiving images and signals from UFOs over the base shortly after taking over the position. Doty and another agent looked at what Bennewitz had discovered, but they didn&#8217, notwithstanding the documents I and others have received via Freedom of Information Act ( FOIA ) requests.

    Doty claims that shortly after meeting with Bennewitz, someone from the Defense Intelligence Agency ( DIA ) approached him. Doty refers to the DIA agent under the moniker &#8220, Falcon&#8221, which he later used in the TV show mentioned earlier. Doty claimed that Falcon wanted to deceive Bennewitz by feeding him with false information to persuade him that what he saw were aliens. Falcon claimed that Bennewitz was capturing images and signals of top-secret activity at the base, and that the disinformation was intended to discredit him and any Russian spies who might be monitoring him.

    There is no proof that Falcon exists or that Doty was given the order to carry out his disinformation campaign against Bennewitz, but it succeeded and put Bennewitz in a perilous mental state. Even worse, the X-Files ‘ propagandization of disinformation has led to mythos that could even fool government insiders.

    The FBI questioned some of Doty &#8217, s documents and questioned the U.S. Air Force about what they knew. The words &#8220, BOGUS&#8221 were written on the returned documents in thick black marker. However, the issue is not whether they are false. Why did they come from an active OSI agent is the question that is still unanswered.

    Former AARO Chief Sean Kirkpatrick wrote in an op-ed for Scientific American earlier this year that “our efforts were ultimately overshadowed by sensational but unsupported claims that ignored contradictory evidence and drew the attention of policymakers and the public, leading to legislative battles and dominating the public narrative.” &#8221,

    I concur with Kirkpatrick on the detrimental impact that sensational but unsupported claims like 8221 have on moving UAP research forward. The government must also be transparent and cooperative, conduct inquiries, and accept responsibility for UAP disinformation.

    Why The Pentagon Needs to Address UFO Disinformation first appeared on Den of Geek.

  • Why The Pentagon Needs to Address UFO Disinformation

    Why The Pentagon Needs to Address UFO Disinformation

    A recently retired U.S. Air Force Office of Special Investigations ( OSI) agent claimed on live television in 1988 that the government was working with aliens at a secret base in Area 51 of the Nevada desert and that “extraterrestrials have complete control of this base.” The producers blacked out the OSI agent’s ]…

    The second article on Den of Geek: Why The Pentagon Needs to Address UFO Disinformation

    A recently retired U.S. Air Force Office of Special Investigations ( OSI) agent claimed on live television in 1988 that Area 51, a key foundation in the Nevada desert, was being run by foreigners under the strict control of the foundation. The manufacturers blacked out the OSI agent’s experience in the program” and he went by the name Falcon. &#8221,

    Richard Doty, the agent’s real title, is what it is. It is listed on the show’s IMDb section as #8217. Doty has acknowledged that he had been spreading false information about foreigners and Creatures with the UFO area during his time working as an Ios agent, beginning in 1980. A person in Nevada named Bob Lazar allegedly claimed to have worked on alien aircraft at Area 51 within days of the playing of the life UFO system. Area 51, one of the most secret military installations in the United States, immediately gained notoriety due to Lazar&#8217’s statements, which were unsupported by the lack of proof.

    Reports like this make me wonder how much of the UFO mythology was created by the US government, and why. Although it sounds like another UFO conspiracy theory, Congress is even interested in this one. They demand that the Pentagon’s current UAP investigation program, the All-Domain Anomaly Resolution Office ( AARO ), produce a report that includes &#8220, the key historical account of the intelligence community’s involvement with unidentified anomalous phenomena, including… any attempts to obfuscate, deceive public opinion, conceal, or otherwise provide incorrect unclassified or classified information about unidentified anomalous phenomena or related activities. &#8221,

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    Is there any reason to believe that the United States government misled the public about Sightings? Although Mr. Doty’s history is not well known, the CIA has admitted lying to the public about Creatures in a research published by the CIA&nbsp, book Research in Intelligence, titled &#8220, A Die-hard Problem: CIA&#8217, s Role in the Study of UFOs, 1947–1990. &#8221,

    In the late 1940s and early 1950s, reliable UFO observations, in the opinion of the study, were a major focus for the internet. The CIA and the U.S. Air Force were under a lot of pressure from this, leading to the creation of UFO research programs. Both companies chose to lie about it because the CIA didn’t want people to know that it was monitoring UFO information and speaking with the U.S. Air Force about it. This hiding of CIA interests, according to the review, was significant in the development of further allegations of a CIA crime and cover-up. &#8221,

    When checking of U-2 spy flights began in the late 1950s, the issue only got worse. The models were extremely reflective, which heightened the information to the USAF UFO analysis program at the time, Project Blue Book, and the plane flew much higher than any other aircraft at the time. The CIA after estimated that U-2 aircraft were to blame for half of the reported UFOs during this period. According to the report, this allegedly led the Air Force to make false and misleading statements to the general public in order to quell public concern and safeguard a highly hypersensitive national security project. &#8221,

    The report also includes the CIA’s participation in a University of Colorado assessment of UFO information in the late 1960s, which resulted in the USAF final Project Blue Book and completely quitting people UFO research. Both organizations made the decision to keep the CIA’s role in the statement secret.

    Also Roswell was a cover-up, though not of the interplanetary type. However, the AARO report‘s second volume whitewashes this occasion. According to the AARO record, in the 1990s, &#8220, USAF&#8217, s study did not find or create any information that indicated the &#8216, Roswell Incident&#8217, was a UFO event, nor was there any &#8216, cover-up&#8217, by the USG. &#8221,

    It goes on to explain how the USAF discovered that Project Mogul, a classified project to monitor Russian nuclear testing, was a result of the debris collected in the desert in 1947. It does not mention the fact that the USAF&#8217 research also revealed that General Roger Ramey, the person in charge of researching the material, had taken it upon himself to conceal that the debris was a classified project. He instead stated to the press that they had discovered a typical weather balloon and had removed the actual debris before taking any press photos.

    The Air Force may have chosen to use a weather balloon at his press conference because he was aware of Project MOGUL and was trying to deflect interest from it, or because he actually believed the material to be a weather balloon based on the identification from his weather officer, Irving Newton, according to the 1995 USAF Roswell report, &#8220. &#8221,

    Colonel Thomas DuBose, Ramey’s Chief of Staff, can be seen in one of the photos, who claimed in an affidavit that the material contained in the photos taken at Gen. Ramey’s office was a weather balloon. The material’s explanation of the weather balloon served as a cover story to divert the press’s attention. &#8221,

    DuBose does not make any claims regarding the information that the USAF discovered. Even so, Ramey’s removal from the source material and DuBose’s statement contribute to Roswell’s conspiracy theories to this day.

    Doty, who is the first to claim that Area 51 was home to alien bodies, is the subject of this claim. He claimed in a document that a cabal of powerful individuals both inside and outside the government controls aliens and secrets. Because the show was allegedly based on Doty’s stories, it sounds like the X-Files.

    Doty started his employment at the Kirtland Air Force base in Albuquerque, New Mexico, in late 1980. A local technical equipment vendor and paranormal enthusiast, Paul Bennewitz, who had just started his position as an OSI agent, claimed to be receiving images and signals from UFOs over the base shortly after taking over his position. Doty and another agent looked at what Bennewitz had discovered, but they didn&#8217, based on documents I and others have received through requests for the Freedom of Information Act ( FOIA ) and didn’t find anything worthwhile to investigate.

    Doty claims that shortly after meeting with Bennewitz, someone from the Defense Intelligence Agency ( DIA ) approached him. Doty refers to the DIA agent under the moniker &#8220, Falcon&#8221, which he later used in the TV show mentioned earlier. Doty claimed that Falcon wanted to deceive Bennewitz by feeding him with false information to persuade him that what he saw were aliens. Falcon claimed that Bennewitz was capturing images and signals of top-secret activity at the base, and that the disinformation was intended to discredit him and any Russian spies who might be monitoring him.

    No proof that Falcon exists or that Doty was given the order to launch his disinformation operation against Bennewitz, but it succeeded and put him in a perilous mental state. Even worse, the X-Files ‘ propagandization of disinformation and its amplification have resulted in mythos that may even fool government insiders.

    The FBI questioned some of Doty &#8217, s documents and questioned the U.S. Air Force about their knowledge. The words &#8220, BOGUS&#8221 were written on the returned documents in thick black marker. However, the issue is not whether they are false. Why did they come from an active OSI agent is the question that is still unanswered.

    Former AARO Chief Sean Kirkpatrick wrote in an op-ed for Scientific American earlier this year that “our efforts were ultimately overshadowed by sensational but unsupported claims that ignored contradictory evidence but attracted the attention of policy makers and the public, causing legislative battles and dominating the public narrative.” &#8221,

    I concur with Kirkpatrick on the detrimental impact that sensational but unsupported claims like 8221 have on moving UAP research forward. The government must be transparent and cooperative as well, and it needs to look into and accept responsibility for its role in UAP disinformation.

    The second article on Den of Geek: Why The Pentagon Needs to Address UFO Disinformation

  • That’s Not My Burnout

    That’s Not My Burnout

    Do you find it hard to connect when I read about people who are dying as they experience exhaustion? Do you feel like your feelings are invisible to the earth because you’re experiencing burnout different? Our main comes through more when stress starts to press down on us. Beautiful, quiet souls get softer and dissipate into that remote and distracted fatigue we’ve all read about. But some of us, those with fires constantly burning on the sides of our key, getting hotter. I have hearth in my brain. When I face fatigue I twice over, triple down, burning hotter and hotter to try to best the issue. I don’t fade; I’m consumed by passionate fatigue.

    But what on earth is a zealous stress?

    Envision a person determined to do it all. She is homeschooling two wonderful children while her husband, who is also working mildly, is likewise homeschooling. She has a demanding customer weight at work—all of whom she loves. She wakes up early to get some movement in ( or frequently catch up on work ), prepares dinner while the kids are having breakfast, and works while positioning herself near the end of her “fourth grade” to watch as she balances clients, tasks, and budgets. Sound like a bit? Yet with a supportive group both at home and at work, it is.

    This girl seems to need self-care because she has too much going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. No accomplishing much. There’s not enough of her to be here and that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She immediately KNOWS what she needs to do! She may DO MORE.

    This is a painful and dangerous period. Know the reasons? Because when she doesn’t end that new purpose, that storyline will get worse. She instantly starts failing. She isn’t doing much. SHE is not enough. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. Not succeeds in any objective target despite constantly trying to prove herself to herself. Not feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big movement. My burning out procedure looks like speeding up, not a man losing focus. I move quickly and steadily, and then I simply quit.

    I am the one who had

    It’s amusing the things that shape us. Through the camera of my own childhood, I witnessed the battles, sacrifices, and concerns of someone who had to make it all work without having much. I was happy that my mom was so competent and my dad sympathetic, I never went without and also got an extra here or there.

    When my mother gave me food stamps as a child, I didn’t think shame; rather, I would have good started any debates about the subject, orally eviscerating anyone who dared to criticize the handicapped girl who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those begins meet impacted people I love. As the non-disabled people in my home, I did take on many of the real things because I was” the one who was” make our lives a little easier. I soon realized that putting more of myself into it was linked to fears or confusion; I am the one who does. I learned first that when something frightens me, I may double down and work harder to make it better. I am capable of taking on the issue. When individuals have seen this in me as an adult, I’ve been told I seem brave, but make no mistake, I’m not. If I seem courageous, it’s because this behavior was forged from another person’s fears.

    And here I am, surrounded by enormous tasks ahead of me, assuming that I am the one who is and therefore should, more than 30 times afterward, still feeling the urge to aimlessly drive myself forward. I find myself driven to show that I may make things happen if I work longer hours, take on more responsibility, and do more.

    Because I have seen how powerful a fiscally challenged person can be, I don’t think they are failures because they are pulled down by that flood. I really get that I have been privileged to be able to prevent many of the problems that were current in my children. That said, I am also” the one who can” who feels she does, but if I were faced with not having much to make ends meet for my own home, I do see myself as having failed. Despite my best efforts and education, the majority of this is due to chance. I will, however, allow myself the arrogance of saying I have been careful with my choices to have encouraged that luck. I believe I am” the one who can,” so I feel compelled to do the most because of this. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to, I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

    Why the long history, then? You see, burnout is a fickle thing. Over the years, I have read and heard a lot about burnout. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and so many amazing professionals are affected by the procrastination, avoidance, and shutting down. There are important articles that relate to what I imagine must be the majority of people out there, but not me. Not at the time of my burnout, though.

    The dangerous invisibility of zealous burnout

    A lot of work environments see the extra hours, extra effort, and overall focused commitment as an asset ( and sometimes that’s all it is ). They see someone attempting to overcome obstacles, not a person who is ensnared in fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. However, in situations like this, those alarms don’t always ring, and some organization members are surprised and depressed when the inevitable stop happens. And sometimes maybe even betrayed.

    Parents—more so mothers, statistically speaking—are praised as being so on top of it all when they can work, be involved in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us have watched countless streaming COVID episodes to see how challenging it is for the female protagonist, but she is strong and funny and can do it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are hidden in tears or doom-scrolling to escape. We know that the media is a lie to amuse us, but often the perception that it’s what we should strive for has penetrated much of society.

    Women and burnout

    I adore men. And though I don’t love every man ( heads up, I don’t love every woman or nonbinary person either ), I think there is a beautiful spectrum of individuals who represent that particular binary gender.

    Despite this, women are still more likely than their male counterparts to burn out, especially in these COVID stressful times. Mothers in the workplace feel the pressure to do all the “mom” things while giving 110 %. Mothers not in the workplace feel they need to do more to” justify” their lack of traditional employment. Women who are not mothers frequently feel the need to do even more because they don’t feel the pressure that comes with being a mother. It’s vicious and systemic and so a part of our culture that we’re often not even aware of the enormity of the pressures we put on ourselves and each other.

    And there are costs that go beyond happiness. Harvard Health Publishing released a study a decade ago that “uncovered strong links between women’s job stress and cardiovascular disease”. The CDC noted,” Heart disease is the leading cause of death for women in the United States, killing 299, 578 women in 2017—or about 1 in every 5 female deaths”.

    According to what I’ve read, this connection between work stress and health is more dangerous for women than it is for their non-female counterparts.

    But what if your burnout isn’t like that either?

    That might not be you either. After all, each of us is so different and how we respond to stressors is too. It’s part of what makes us human. Don’t put too much emphasis on how burnout looks; instead, learn to recognize it in yourself. Here are a few questions I sometimes ask friends if I am concerned about them.

    Are you content? This simple question should be the first thing you ask yourself. Chances are, even if you’re burning out doing all the things you love, as you approach burnout you’ll just stop taking as much joy from it all.

    Do you feel like you have the authority to refuse? I have observed in myself and others that when someone is burning out, they no longer feel they can say no to things. Even those who don’t” speed up” feel pressured to say “yes” to avoid apprehension.

    What are three things you’ve done for yourself? Another observance is that we all tend to stop doing things for ourselves. anything from avoiding conversations with friends to skipping showers and eating poorly. These can be red flags.

    Are you using justifications? Many of us try to disregard feelings of burnout. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it could be just one more thing you need to learn, or it might just be crunch time. That happens—life happens. BUT if all of this doesn’t stop, be open to yourself. If you’ve worked more 50-hour weeks since January than not, maybe it’s not crunch time—maybe it’s a bad situation that you’re burning out from.

    Do you have a plan to stop feeling this way? If something has an exit route with a pause button if it is only temporary and you have to push through it.
    defined end.

    Take the time to listen to yourself as you would a friend. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So now what?

    What I just described has a different path to burnout, but it’s still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat healthy.
    • Work out.
    • Go outside.
    • Take a break.
    • Practice self-care in general.

    Those are hard for me because they feel like more tasks. If I’m in the burnout cycle, doing any of the above for me feels like a waste. Why would I take care of myself when I’m dropping all those other balls, according to the narrative? People need me, right?

    Your inner voice might already be pretty bad if you’re deeply in the cycle. If you need to, tell yourself you need to take care of the person your people depend on. If your roles are pushing you toward burnout, use them to help make healing easier by justifying the time spent working on you.

    I have come up with a few things that I do when I start to feel like I’m going into a zealous burnout to help me remember the airline attendant advice to put the mask on yourself first.

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, cooking for someone always comes naturally to my mind. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Because the majority of us work in a digital world, cooking can pique all of your senses and make you immerse in the moment in all your ways of seeing the world. It can break you out of your head and help you gain a better perspective. In my house, I’ve been known to pick a place on the map and cook food that comes from wherever that is ( thank you, Pinterest ). Because it’s not what I was raised making, I enjoy making Indian food because the smells are warm and the bread only needs a small amount of kneading to keep my hands busy. And in the end, we all win!

    Vent like a sniveling jerk.

    Be careful with this one!

    I have been making an effort to practice more gratitude over the past few years, and I recognize the true benefits of that. Having said that, sometimes you just need to let it all out, even the ugly ones. Hell, I’m a big fan of not sugarcoating our lives, and that sometimes means that to get past the big pile of poop, you’re gonna wanna complain about it a bit.

    When that is required, approach a trusted friend and express your concerns verbally. You need to trust this friend not to judge, to see your pain, and, most importantly, to tell you to remove your cranium from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he can simplify things down to the simplest of terms, even though sometimes after the fact. ” We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. Of course, it required that I remove my head from that rectal cavity. So, again, usually those moments are appreciated in hindsight.

    Pick up a book!

    There are many books out there that are more like you sharing their stories and how they’ve come to find greater balance than they are self-help. Maybe you’ll find something that speaks to you. Among the titles that have stood out to me are:

    • Thrive by Arianna Huffington
    • Tools of Titans by Tim Ferriss
    • Girl, Stop Apologizing by Rachel Hollis
    • Dare to Lead by Brené Brown

    Or, a tactic I enjoy using is to read or listen to a book that is NOT related to my work-life balance. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

    • The Drunken Botanist by Amy Stewart
    • Darin Olien’s Superlife
    • A Brief History of Everyone Who Ever Lived by Adam Rutherford
    • Toby Hemenway’s Gaia’s Garden

    If you’re not into reading, pick up a topic on YouTube or choose a podcast to subscribe to. I’ve watched countless permaculture and gardening topics in addition to how to raise chickens and ducks. For the record, I don’t currently have a particularly large food garden or raise any kind of livestock. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

    Give yourself a break.

    You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. Being tired, depressed, and worried is human nature. It’s OK to not do it all. You can’t be brave without being imperfect, which is terrifying.

    This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We are stronger than the anxieties that motivate us.

    This is hard. I struggle with it. It’s what’s driven me to write this—that it’s OK to stop. It’s OK that your unhealthy habit that might even benefit those around you needs to end. You can still succeed in life.

    I recently read that we are all writing our eulogy in how we live. What will your professional accomplishments say, knowing that yours won’t be mentioned in that speech? What do you want it to say?

    Look, I get that none of these ideas will “fix it”, and that’s not their purpose. Only how we react to the things around us is what we control. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are the things that largely work for me. Maybe they’ll work for you.

    Does this sound familiar?

    If this sounds familiar, you’re not just going to know about it. Don’t let your negative self-talk tell you that you “even burn out wrong”. It is not improper. Even if rooted in fear like my own drivers, I believe that this need to do more comes from a place of love, determination, motivation, and other wonderful attributes that make you the amazing person you are. We’re going to be OK, ya know. When we stop and look around, the only eyes that judge us are usually the ones who look in the mirror, so the lives that unfold before us might never seem to be the same as the story in our heads.

    Do you remember that Winnie the Pooh sketch that had Pooh eat so much at Rabbit’s house that his buttocks couldn’t fit through the door? Well, I already have a strong connection to Rabbit, so it was surprising when he unexpectedly declared that this was unacceptable. But do you recall what happened next? He put a shelf across poor Pooh’s ankles and decorations on his back, and made the best of the big butt in his kitchen.

    We are resourceful and aware that we can push ourselves when necessary, even when we are exhausted or have a ton of clutter in our room. None of us has to be afraid, as we can manage any obstacle put in front of us. And maybe that means we need to redefine success in order to make room for comfort for being uncomfortable human, but that doesn’t really sound that bad either.

    So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any opinion”? is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, and it doesn’t give a clear picture of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

    When we realize that receiving input can be seen as a form of design study, it might seem counterintuitive to begin the process with a question. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

    Design analysis is not a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    And suddenly, as with any great research, we need to review what we got up, get to the base of its perspectives, and take activity. Iteration, evaluation, and problem. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the end of a presentation are likely to garner a lot of different ideas, or worse, to make people follow the lead of the first speaker. And next… we get frustrated because vague issues like those can change a high-level moves review into folks rather commenting on the borders of buttons. Which theme may be significant, so it might be difficult to get the team to choose the one you wanted to concentrate on.

    But how do we get into this scenario? It’s a combination of various aspects. One is that we don’t often consider asking as a part of the input method. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that in nonprofessional conversations, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t make any improvements to them.

    The work of asking good questions guidelines and focuses the criticism. It’s even a form of acceptance because it specifies what kind of opinions you’d like to receive and how you’re open to them. It puts people in the right emotional state, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best way to ask for opinions. It simply needs to be certain, and sensitivity can take several shapes. The concept of stage than level is a design for design criticism that I’ve found to be particularly helpful in my coaching.

    Stage” refers to each of the steps of the process—in our event, the design process. The type of input changes as the customer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the job has evolved. The layers of user experience could serve as a starting point for potential questions. What do you want to know: Project objectives? User requirements? Functionality? the content Interaction design? Information architecture UI design? navigation planning Visual design? Branding?

    Here’re a few example questions that are precise and to the point that refer to different layers:

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the top-most error counter, which ensures that you can see the next error even when the error is outside the viewport?
    • Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Exist any recommendations for resolving this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

    How much of a presentation’s depth would be on the other axis of specificity. For example, we might have introduced a new end-to-end flow, but there was a specific view that you found particularly challenging and you’d like a detailed review of that. This can be especially helpful from one iteration to the next when it’s crucial to highlight the areas that have changed.

    There are other things that we can consider when we want to achieve more specific—and more effective—questions.

    A quick fix is to get rid of the generic qualifiers from questions like “good”, “well,” “nice,” “bad,” “okay,” and” cool.” For example, asking,” When the block opens and the buttons appear, is this interaction good”? is it possible to look specific, but you can spot the “good” qualifier and make the question” When the block opens and the buttons appear, is it clear what the next action is” look like?

    Sometimes we actually do want broad feedback. Although that is uncommon, it is possible. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

    Sometimes the project is particularly broad, and some areas may have already been thoroughly explored. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding getting back into rabbit holes like those that could lead to further refinement but aren’t currently what matters most.

    Asking specific questions can completely change the quality of the feedback that you receive. People with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely on what’s needed. It can save a lot of time and frustration.

    The iteration

    Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. These types of design tools cause conversations to end after they are resolved, update shared UI components automatically, and require designers to always display the most recent version unless these would-be useful features were manually disabled. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That approach to design critiques is probably not the best approach, but some teams might benefit from it even if I don’t want to be too prescriptive.

    The asynchronous design-critique approach that I find most effective is to create explicit checkpoints for discussion. For this, I’m going to use the term iteration post. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. This can be used on any platform that can accommodate this structure. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are always available, and conversations are also made accessible for future review.
    • It creates a record of how the design changed over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

    These posts of course don’t mean that no other feedback approach should be used, just that iteration posts could be the primary rhythm for a remote design team to use. From there, there can be additional feedback techniques ( such as live critique, pair designing, or inline comments ).

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level elements that make sense to include as a baseline:

    1. The goal
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and hopefully it’s something that’s already been summarized in a single sentence somewhere else, such as the client brief, the product manager’s outline, or the project owner’s request. In other words, I would copy and paste this into every iteration post to make it work. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will provide all I need to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts is actually very effective at ensuring that everyone is on the same page.

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design object, to put it briefly. For the final stages of work, I prefer the term blueprint to emphasize that I’ll be showing full flows instead of individual screens to make it easier to understand the bigger picture.

    It might also be helpful to have clear names on the objects since it makes them look better to refer to. Write the post in a way that helps people understand the work. It’s not much different from creating a strong live presentation.

    For an efficient discussion, you should also include a bullet list of the changes from the previous iteration to let people focus on what’s new, which can be especially useful for larger pieces of work where keeping track, iteration after iteration, could become a challenge.

    Finally, as mentioned earlier, a list of the questions must be included in order to help you guide the design critique in the desired direction. Doing this as a numbered list can also help make it easier to refer to each question by its number.

    Not every iteration is the same. Earlier iterations don’t need to be as tightly focused—they can be more exploratory and experimental, maybe even breaking some of the design-language guidelines to see what’s possible. Then, later, the iterations begin coming to a decision and improving it until the design process is complete and the feature is ready.

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be a draft, just a concept to start a discussion, or it might be a cumulative list of every feature that was added over the course of each iteration until the full picture is achieved.

    Over time, I also started using specific labels for incremental iterations: i1, i2, i3, and so on. Although this may seem like a minor labeling tip, it can be useful in many ways:

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Exploratory, incomplete, or partial should be the definition of an argument.
    • Future proof—It resolves the “final” naming problem that you can run into with versions. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to indicate when a design is finished enough to be worked on, even if there are some areas that still need improvement and, in turn, require more iterations, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    The review

    What typically occurs during a design critique is an open discussion, with a back and forth between parties that can be very productive. This approach is particularly effective during live, synchronous feedback. However, when we work asynchronously, using a different approach is more effective: we can adopt a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

    Asynchronous feedback is particularly effective because of this shift, especially around these friction points:

    1. It removes the pressure to reply to everyone.
    2. It lessens the annoyance of snoop-by comments.
    3. It lessens our personal stake.

    The first friction is being forced to respond to every comment. Sometimes we write the iteration post, and we get replies from our team. It’s simple, straightforward, and doesn’t cause any issues. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. If the respondent is a stakeholder or a person directly involved in the project, this might be especially true. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When we treat a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives: In asynchronous spaces, responding to all comments can be effective.

      One is to let the next iteration speak for itself. When the design changes and we publish a follow-up iteration, that’s the response. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another tactic is to formally acknowledge each comment in a brief response, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the discussions from earlier iterations. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep coming back and forth.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, if responding to a previously litigated point is useful, a brief response with a link to the previous discussion for additional information is typically sufficient. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting has two benefits: first, they might point out something that isn’t clear, and second, they might serve as a reference point for someone who is first viewing the design. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

    The personal stake we might have in relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). And in the end, presenting everything in aggregated form helps us to prioritize our work more.

    Always remember that while you need to listen to stakeholders, project owners, and specific advice, you don’t have to accept every piece of feedback. You must examine it and come up with a rationale for your choice, but sometimes “no” is the best choice.

    As the designer leading the project, you’re in charge of that decision. In the end, everyone has their area of expertise, and as a designer, you are the one with the most background and knowledge to make the right choice. And by listening to the feedback that you’ve received, you’re making sure that it’s also the best and most balanced decision.

    Thanks to Mike Shelton and Brie Anne Demkiw for their contributions to the initial draft of this article.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft skills we have at our disposal is opinions, in whatever form it takes, and whatever it may be called. It helps us collaborate to improve our designs while developing our own abilities and perspectives.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Bad feedback can cause conflict in jobs, lower motivation, and negatively impact faith and teamwork over the long term. Quality comments can be a revolutionary force.

    Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can input be adjusted for isolated and distributed function settings?

    On the web, we may find a long history of sequential suggestions: code was written and discussed on mailing lists since the beginning of open source. Currently, engineers engage on pull calls, developers post in their favourite design tools, project managers and sprint masters exchange ideas on tickets, and so on.

    Design analysis is often the label used for a type of input that’s provided to make our job better, jointly. It generally shares many of the concepts with suggestions, but it also has some differences.

    The information

    The material of the feedback serves as the foundation for all effective critiques, so we need to begin there. There are many designs that you can use to form your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    This calculation, which is typically used to provide feedback to users, even fits really well in a design critique because it finally addresses one of the main issues that we address: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice things that needs to be improved. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

    A comment that appears to be acceptable at first glance could be included in some feedback, as it only appears to partially fulfill the requirements. But does it?

    Not confident about the keys ‘ patterns and hierarchy—it feels off. Can they be altered?

    Observation for style feedback doesn’t really mean pointing out which part of the software your input refers to, but it also refers to offering a viewpoint that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? From the perspective of the project manager? A first-time user’s perspective?

    I anticipate that one of these two buttons will go forward and the other will go back when I see them.

    Impact is about the why. Just pointing out a UI element might sometimes be enough if the issue may be obvious, but more often than not, you should add an explanation of what you’re pointing out.

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow.

    The question approach is meant to provide open guidance by eliciting the critical thinking in the designer receiving the feedback. Notably, in Lara’s equation she provides a second approach: request, which instead provides guidance toward a specific solution. While that’s a viable option for feedback in general, in my experience, going back to the question approach typically leads to the best solutions because designers are generally more at ease in being given an open space to explore.

    The difference between the two can be exemplified with, for the question approach:

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Would it make sense to unify them?

    Or, for the request approach:

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same pair of forward and back buttons.

    At this point in some situations, it might be useful to integrate with an extra why: why you consider the given suggestion to be better.

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and reviewed feedback with other people before putting a lot of effort into improving it a while ago. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Quite unexpected, my next round of criticism from one particular person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always preferred specific guidance. So I adapted my feedback for them to include requests.

    One comment that I heard come up a few times is that this kind of feedback is quite long, and it doesn’t seem very efficient. Yes, but no. Let’s explore both sides.

    No, this kind of feedback is actually effective because the length is a byproduct of clarity, and giving this kind of feedback can provide precisely enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. Since the designer receiving this feedback wouldn’t have much to go by, they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. Without explaining the why, the designer might assume that the change is one of consistency, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this style of feedback is not always efficient because the points in some comments don’t always need to be exhaustive, sometimes because certain changes may be obvious (” The font used doesn’t follow our guidelines” ) and sometimes because the team may have a lot of internal knowledge such that some of the whys may be implied.

    Therefore, the equation above is intended to serve as a mnemonic to reflect and enhance the practice rather than a strict template for feedback. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

    The tone

    Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to sustained change in people. It can be determined by tone alone whether content is rejected or welcomed.

    Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles that of the content receptivity equation.

    Respectful feedback comes across as grounded, solid, and constructive. It’s the kind of feedback that, whether it’s positive or negative, is perceived as useful and fair.

    The term “timing” describes the moment when the feedback occurs. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration later? Polishing work in progress? Each of these needs a different one. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking before writing to see if what we have in mind will actually help the person and improve the project overall. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, and that’s okay. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? What can I do to encourage constructive behavior?

    Form is relevant especially in a diverse and cross-cultural work environments because having great content, perfect timing, and the right attitude might not come across if the way that we write creates misunderstandings. There could be many reasons for this, including the fact that occasionally certain words may cause specific reactions, that nonnative speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different and that our world may be perceived differently; hence, neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

    A few years back, I was asking for some feedback on how I give feedback. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That’s not what I meant to say! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed my situation by adding “oh” to my list of replaced words (your choice between aText, TextExpander, or others ) so that when I typed “oh,” it was immediately deleted.

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. A positive attitude doesn’t necessarily mean giving in to criticism; it just means that you give it in a respectful and constructive manner, whether it be in the form of criticism or criticism. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment and asked someone I trusted,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the best, most insightful moments for me occurred when I saw the two versions side by side.

    The format

    Asynchronous feedback also has a significant inherent benefit: we can devote more time to making sure that the suggestions ‘ clarity of communication and actionability meet two main objectives.

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. There are many ways to accomplish this, and context is of course important, but let’s try to think about some things that might be worthwhile to take into account.

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first encounter with it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view do you consider when providing feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

    Even if you’re giving feedback to a team that already has some project information, providing context is helpful. And context is absolutely essential when giving cross-team feedback. If I were to review a design that might be indirectly related to my work, and if I had no knowledge about how the project arrived at that point, I would say so, highlighting my take as external.

    We frequently concentrate on the negatives and attempt to list every improvement that could be made. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to keep in mind that design is a field with hundreds of possible solutions for each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

    There’s one powerful approach that combines both context and a focus on the positives: frame how the design is better than the status quo ( compared to a previous iteration, competitors, or benchmarks ) and why, and then on that foundation, you can add what could be improved. This is powerful because there is a big difference between a critique of a design that is already in good shape and one that is critiqued for a design that isn’t quite there yet.

    Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. Just before sending, review your writing to make changes to this.

    In terms of actionability, one of the best approaches to help the designer who’s reading through your feedback is to split it into bullet points or paragraphs, which are easier to review and analyze one by one. You might also consider breaking up the feedback into sections or even across multiple comments if it is longer. Of course, adding screenshots or signifying markers of the specific part of the interface you’re referring to can also be especially useful.

    One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it needs to be changed, and a green circle provides a thorough, positive confirmation. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

    Let’s see how this would work by reusing the example that we used earlier as the first bullet point in this list:

    • 🔶 Navigation—I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Considering the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

    What about giving feedback directly in Figma or another design tool that allows in-place feedback? These are generally difficult to use because they conceal discussions and are harder to follow, but in the right setting, they can be very effective. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

    One final note: say the obvious. We don’t say something because we sometimes think it’s obvious that something is either good or wrong. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. You might have to reword it a little bit to make the reader feel more comfortable, but don’t hold it back. Good feedback is transparent, even when it may be obvious.

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, which could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

    Content, tone, and format. Although each of these subjects offers a useful model, improving eight of the subjects ‘ observation, impact, question, timing, attitude, form, clarity, and actionability is a lot of work to put in all at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the second, followed by the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

    Thanks to Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not sure when I first heard this statement, it has stuck with me over the centuries. How do you generate solutions for scenarios you can’t think? Or create items that are functional on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I set about making a layout that I would eventually fall content into a 960px cloth. The growth phase was about attaining pixel-perfect reliability using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s 2010 content in A List Off entitled” Responsive Web Design.” I was sold on reactive style as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with reactive style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. You can’t really put responsiveness at the end of a job, which I learned the hard way. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Removing restrictions and creating content that can be viewed on any device has always been the goal of designing responsive or liquid websites. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Therefore with Sass but that I could use @includes to re-use repeated blocks of code and transition to more semantic premium:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media answers

    The next ingredient for reactive design is press queries. Without them, regardless of whether the information was still readable, may shrink to fit the available storage.

    Media answers prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for little- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those capacities, I began to work more with washable parts.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If the goal of part libraries is modify, then this is a real problem because you can just use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process never really hitting that “devices that don’t already occur” goal.

    Then there’s the problem of space. Media answers allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. There are workarounds for JavaScript, but they can lead to dependencies and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive elements are meant to replace responsive layouts.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

    My issue is that layout is still used to determine when a design needs to adapt. This approach will always be restrictive, as we will still need pre-defined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    The best place to make that choice is probably a component library that is disconnected from context and real content.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    In this example, the dimensions of the container are not what should dictate the design, rather, the image is.

    Without reliable cross-browser support for them, it’s difficult to say for certain whether container queries will be successful. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might always need to modify these elements to fit our content.

    CSS is changing

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    You don’t need to wrap elements in container rows, which is the biggest benefit of all of this. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features used to create layouts that respond to available space.

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says I want you to distribute the extra space in this manner, but never that it should be smaller than the content inside.

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without the requirement of having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted and reused.

    We can now create designs that adapt to the space they have, the content within them, and the content around them. We can create responsive components using an intrinsic approach without relying on container queries.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another “everything changed” moment for me.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that might be that I now work for a sizable company, which is significantly different from the role I held as a design agency in 2010: In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

    Another possibility is that I now feel more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly new; it’s about applying existing skills and CSS knowledge in a unique way.

    You can’t framework your way out of a content problem

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because having a selection of units is a benefit when creating layout templates, intrinsic design and frameworks do not go hand in hand quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices at some point in our careers to drop designs in and demonstrate how the site would look at each of the three stages.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? Personally, I’m a big fan of this kind of design in the browser.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to implement this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Still in use? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    This is not the same as previous markup hacks like this.

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

    Directional variables must be set in the Sass version.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as real estate.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, now we have native logical properties, removing the reliance on both Sass ( or a similar tool ) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    The element in the figure above will be 50 % of its container as long as the element’s width doesn’t exceed 300px.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    Now the element will be 50 % of its container as long as the element’s width is at least 300px. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % ( the preferred value ) of its container, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By making plans for unanticipated changes in language or direction, we can begin to future-proof designs. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    First, the circumstances

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a lot different to design for someone using a mobile phone and walking through a crowded street in glaring sunshine than it is for someone using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    Choice is so crucial because of this. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design

    ” There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure”.

    On a 50 MB budget, I spent a day surfing the web.

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, our users may be commuters using smaller mobile devices that may experience disconnects in connectivity in the real world. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The media queries are now being returned.

    Media answers have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario, it’s less about one-size-fits-all and more about serving adaptable content.

    The Media Queries Level 5 spec is still being developed as of this writing. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For instance, a light-level option lets you alter a user’s style when they are in the dark or in the sun. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media answers like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, we should always anticipate that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can design for content, but we can’t do it the same way we do for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is a lot more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we need to make sure our goods are usable when people need them, whenever and wherever that may be. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for many thousands of years. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have conversations started to be written, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affinity for written communications than for the vernacular rigors of spoken language.

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the complexity of human statement, including the pauses and pauses, the gestures and brain speech, and the word selection and spoken dialect variations that can impede even the most skillfully crafted human-computer interaction. In the human-to-human situation, spoken language also has the opportunity of face-to-face call, where we can easily interpret visual interpersonal cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we commit to recording and keeping usages long after they are no longer relevant in spoken communication ( for example, the salutation” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for devices to interpret and know.

    Spoken speech lacks this pleasure. Besides the visual cues that mark conversations with emphasis and personal context, there are also linguistic cues and outspoken behaviors that mimic conversation in complex ways: how something is said, never what. Our spoken language conveys much more than the published word can actually contain, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, stiff, or groaning. But when it comes to words interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice-to-voice relations

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a dialogue as a result:

    • we need something done ( such as a transaction ),
    • we want to hear something, some kind of data, or
    • we are social people and want someone to talk to ( conversation for conversation’s pleasure ).

    A second talk from beginning to end that achieves some goal for the consumer, starting with the voice interface’s initial greeting and ending with the user exiting the interface, also fits into these three categories, which I refer to as interpersonal, technical, and prosocial. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it may not always be one voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. Users are also debating whether or not they prefer the kind of organic human conversation that starts with a prosocial voiceover and progresses seamlessly into other types. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users ‘ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ( ).

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, such as one that focuses on a transactional voice interaction ( buying iced tea ) and another on learning something new ( discuss a musical ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza ( generously topped with pineapple, as it should be ).

    How are things going, Alison?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I get a pizza from Hawaii with extra pineapple.

    Burhan: Sure, what size?

    Large, Alison.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    I’ll have a bottle of Coke, Alison.

    Burhan: You got it. It will cost about$ 15 and take fifteen minutes to complete.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Transactional conversations exhibit a few key characteristics: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. We’re after much more than just a prosocial mini-conversation at the beginning, even though we do it once more to establish politeness.

    How are things going, Alison?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Do you have any halal options available on the menu, Alison?

    Burhan: Absolutely! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you considering any additional dietary restrictions?

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you. Anything else I can answer for you?

    Alison: That’s it for now. Good to know. Thank you!

    Burhan: Anytime, come back soon!

    This dialogue is radically different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts, or they are investigative quests for the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated so that the customer is aware of the important lessons.

    Voice Interfaces

    Voice interfaces, in essence, use speech to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that could actually be spoken with the help of interactive voice response ( IVR ) systems, which were developed as an alternative to overburdened customer service representatives.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Similar to the corporate world, these systems were primarily created as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), and chances are you’ll have a conversation with one when you call an airline or hotel conglomerate. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversations than we’re used to in real life ( or even in science fiction ), despite being extremely repetitive and monotonous conversations that typically don’t veer from a single format.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. The most recent version of a voice-over-text format of content delivery is probably the one that is closest to it.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). In the same year, Jim Thatcher created the first IBM Screen Reader for text-based computers, which was later reworked for computers with graphical user interfaces ( GUIs ) ( ).

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, enabling speedy interactions with the pages. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces takes a cognitive toll for many screen reader users.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    I hated the way Screen Readers operated from the beginning. Why are they designed the way they are? It makes no sense to present information visually before converting it to audio only after that. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without getting too close to it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film Star Trek or with Majel Barrett’s voice as the omniscient computer. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re quickly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a Semantic Web “agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” (, behind paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    There are a lot of variations in the programmability and customization of some voice assistants compared to others ( Fig. 1 ). As a result of the breadth of voice assistants available today ( Fig. 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, so even now it isn’t possible to program Siri to perform arbitrary functions.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are capable of customization and extensibility. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users can choose from among the thousands of custom-built skills available today in the Google Assistant and Amazon Alexa ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then manifests as a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the content in this book being delivered auditorically, not as an option but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. There is only one issue: any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice movements?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, colossal vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    An example of microcontent can be a day’s weather forecast [sic], an airplane flight’s arrival and departure times, an abstract from a lengthy publication, or a single instant message. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how to stretch your content to the limits of its potential is through microcontent, which will inform both established and new delivery methods.

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly see when the next train is coming from a digital sign underground, but voice interfaces keep our attention captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Fundamentally, how voice content manifests in perceived time and space both affect the legibility and discoverability of our voice content.