Hatley, Barbara

Thompson, James, 1966-

Nair, Sreenath

Cohen, Matthew Isaac

Nicholson, Helen, 1958-

Elsam, Paul

Tait, Peta, 1953-

Radosavljević, Duška

Read, Alan, 1956- author

Pryce, Larissa, author

Hadley, Bree, author

Krasner, David, 1952-

Matthews, John, 1983- author

Krishnan, Sarasa, author

Eckersall, Peter, author

Cixous, Hélène, 1937- author

Turner, Cathy, author

Barker Library - TA440.E358 2012

Barker Library - TA439.W8 2018

In his Beyond Engagement: the Content Performance Quotient presentation at An Event Apart in Chicago, Jeffrey Zeldman introduced a new metric for tracking how well Web sites are performing. Here's my notes from his talk:

• The number one stakeholder request for Web sites is engagement: we need people using our services more. But is it the right metric for all these situations?
• For some apps, engagement is clearly the right thing to measure. Think Instagram, long-form articles, or gaming sites. For others, more time spent might be a sign of customer frustration.
• Most of the Web sites we work on are like customer service desks where we want to give people what they need and get them on their way. For these experiences, speed of usefulness should matter more than engagement.
• Content Performance Quotient (Design CPQ) is a measure of how quickly we can get the right content to solve the customer's problem. The CPQ is a goal to iterate against and aim for the shortest distance between problem & solution. It tracks your value to the customer by measuring the speed of usefulness.
• Pretty garbage: when a Web site looks good but doesn't help anyone. Garbage in a delightfully responsive grid is still garbage. A lot of a Web designer's job is bridging the gap between what clients say they need and what their customers actually need.
• Marlboro's advertising company (in the 50s) rethought TV commercials by removing all the copy and focusing on conveying emotions. They went from commercials typically full of text to just ten words focused on their message.
• Mobile is a great forcing function to re-evaluate our content. Because you can't fit everything on a small screen, you need to make decisions about what matters most.
• Slash your architecture and shrink your content. Ask: "why do we need this?" Compare all your content to the goals you've established. Design should be intentional. Have purpose-driven design and purpose-driven content. If your design isn't going somewhere, it is going nowhere.
• We can't always have meetings where everybody wins. We need to argue for the customer and that means not everyone in our meetings will get what they want. Purpose needs to drive our collaborations not individual agendas, which usually leak into our Web site designs.
• It’s easy to give every stakeholder what they want. We've enabled this through Content Management Systems (CMS) that allow everyone to publish to the site. Don't take the easy way out. It’s harder to do the right thing. Harder for us, but better for the customer & bottom line.
• Understanding the customer journey allows us to put the right content in the right place. Start with the most important interaction and build out from there. Focus on key interactions and build out from there. Sometimes the right place for your content isn't your Website -for video it could be YouTube or Vimeo.
• Customers come to our sites with a purpose. Anything that gets in the way of that is a distraction. Constantly iterate on content to remove the cruft and surface what's needed. You can start with a content inventory to audit what is in your site, but most of this content is probably out of date and irrelevant. So being in a state of constant iteration works better.
• When you want people to go deeper and engage, to slow down... scannability, which is good for transactions, can be bad for thoughtful content. Instead slow people down with bigger type, better typographic hierarchy, more whitespace.
• Which sites should be slow? If the site is delivering content for the good of the general public, the presentation should enable slow, careful reading. If it’s designed to promote our business or help a customer get an answer to her question, it must be designed for speed of relevancy.

PFC and REC have lent extensively to coal-fired power projects, with Rs 3.43 trillion, or 54% of their total loan books exposed to thermal power

In the latest incarnation of Dawn of the Planet of the Apes Andy Serkis and Toby Kebbell deliver human motion-capture performances to help bring the realistic apes to life. Shot with a combination of high-speed cameras, Mike Seymour breaks down the tech behind shooting the motion-capture scenes on location versus on a sound stage.

Just down the road from Facebook and Google, Dr. Phil Wagner runs a laboratory dedicated to optimizing the performance of some of the world’s top athletes.

Stanford researcher Mark Denny used models from the animal world to examine just how much faster we might get in the future. Here, he explains his work.

Dr. Euan Ashley and his team are gathering DNA samples from the most elite endurance athletes on the planet to find the genetic reasons that they are so fit.

MIT Media Lab's Hugh Herr explains how he looks to nature when developing new bionic appendages. The amputee and avid rock climber discusses how his biomechatronics division is pioneering the technologies that aim to augment human physical capabilities.

Victor Krummenacher, co-founder and bassist in legendary California rock band Camper Van Beethoven and WIRED managing art director, performs "If You Don't Break My Heart, I Don't Stand A Chance" at WIRED's San Francisco offices.

Artist Trevor Paglen is best known for images of the security state – drones, spy satellites and rendition planes – For a new work commissioned by the Cantor Arts Center he's collaborated with Kronos Quartet and Obscura Digital to look under the hood of artificial intelligence and machine vision.

‘War for the Planet of the Apes’ star Andy Serkis is the world’s greatest motion capture performer. His abilities are so in-demand that much of the technology behind motion capture has evolved along with his performances. Andy breaks down some of the major moments of his career along with how the filmmaking tools have changed alongside it. 'War for the Planet of the Apes' is now available on Digital, Blu-ray and DVD #WarForthePlanet

Conductor and organist Kent Tritle explains all that goes into being a professional conductor. From the concepts of legato, marcato, fortissimo, and more, Kent breaks down what exactly his hand movements mean when leading a group of musicians. Filmed at the Cathedral of St. John the Divine, featuring Kent Tritle, Director of Cathedral Music and Organist, Cathedral of St. John the Divine.

Venkateswara Rao, T

Saks, Alan M. (Alan Michael), 1960- author

Franceschini, Fiorenzo

Vernon, Alexia

Schienle, Kathleen

Hayashi, Shawn Kent

Davis, Alison (Alison Bonnie), 1957-