There is quite a debate amongst web designers about the relative merits of using zoom vs. using font size to make a page more accessible. Many folks lobby for font-size as the option of choice. Others suggest that zoom is a better representation of page content since it preserves the original layout — just larger or smaller.

My mother has severe Macular Degeneration. I have watched how she works with her various magnifying tools. She is quite used to scrolling both vertical and horizontal. It has become part of her life style.

However, zoom as it is implemented is missing one very significant feature. I call it  the “photoshop hand”. Photoshop just happens to be the first place I was introduced to this UI tool. By combining a keyboard shortcut with the mouse one can “grab” the canvas  and move it around. It can be moved up, down, left, right, and at any angle. This is very convenient for navigating an image that is larger than the view port.

I have not found this movement tool in the Firefox Zoom feature. If there is one please let me know, my mother will be most pleased. As it is the keyboard arrow keys to some good effect.

If Zoom is designed for use by the visually impaired then it would make sense for it to duplicate the look AND feel of the equipment already in use — such as the table top overhead project type camera and screen. Or, at least for the UI (user interface) designers to study those tools for a bit.

Obviously computer browsers could have expanded functionality beyond the mechanically limited user interface of desktop camera systems. For example, a simple button to jump from h? to h? within a page might be nice. These are semantically the deliminators of distinct areas of a page. Whether or not this would truly be a good idea is left to testing. And testing is something that seems to be missing from many of the accessibility features at the moment.

Previously I discussed our love for finding patterns. In this blog-article I’d like to continue that discussion by relating it to Jazz Art and the role that visual media can play in context with music.

Please be clear, I am most definitely not trying to indicate that our love of finding patterns has anything to do with the who, what, where, of how of jazz. Rather, I am simply pointing out that while we are listening to jazz, our brains continue with their pattern finding mania unabated.

Our love of finding patterns does not stop just because we are playing jazz. Before jazz we find patterns, after jazz we find patterns, and during jazz we find patterns. Let’s face it, we find patterns all the damn time. That is what we do.

Hence, while jazz is happening so too does pattern finding.

I think it is easy to appreciate how perceptual data influences the patterns we find. For example, the visual data presented by an orderly array of trees in an orchard will give rise to very different patterns than the visual data provided by an accumulation of trees in the forest. It should be easy to appreciate how the data (in this case the trees) effects the patterns we draw.

All of this, brings us finally to the topic of this paper – Jazz Art. Jazz being the music, and art being associated visual media.

In Jazz Art, the music and visual media have a symbiotic and synergistic relationship. Both draw life from the other – the mixture of jazz and art being far greater than the sum of the parts.

As we listen to music, the process of pattern exploration continues. The music supplies audio information forming the bulk of  the raw data from which we explore patterns. But, this audio information (a.k.a. music) is not the whole of it. The set and setting also contribute.

In terms of set, how we approach the music is important. Are we harried, have we just gulped down five espressos or half a bottle of wine, did we come from a hectic drive through mid-town traffic, or a pleasant evening with friends. All of this contributes to the set.

The setting would naturally be the audience, layout, decor, and even smell of the venue. Believe it, listening to music in an adrenaline filled beer saloon is very different than a small jazz club around the corner. The setting matters.
When it comes to set and setting, they should, for the most part, be a kind of static background used to predispose one to a positive listening experience. There is one area in which this non-interference rule should be broken – that is the stage. The setting of the stage is a part of the performance. This includes everything from how the instruments and musicians are arranged on the stage, to the lighting, to the stage decoration.
It is in the stage decoration that Jazz Art takes its place. Apart from the shear utilitarian function of acting as sound baffles to help sculpt the sound, Jazz Art adds visual data supplementing the audio information.

This is most easily demonstrated through experience. For me, E.J. Gold’s monumental entitled Milt Green is an excellent case study. The picture by itself is a beautiful, partially abstracted portrait of Milt Green – hence the title . However, place this portrait anywhere within easy view while listening to jazz and something wonderful happens. Not only is the nature of the artwork mutable through the effects of the music, the music is also susceptible. Or, perhaps more correctly, my experience of the music is susceptible to the juxtaposition with the artwork.

Obviously the notes do not change in the recording. The CD is the same, colors don’t reach out from the painting into the gold foil of the CD changing the music as it is recorded. But, somehow, the process of being with the portrait savoring the  visual experience brings out a variety of different aspects within the music.
Jazz, is not fluctuations of density in the atmosphere. Pressure waves are merely the means by which sound is transmitted through the room. It takes a human ear to transform a room full of wiggling bits of air into jazz. The ear contributes to the experience of jazz. The ear is not just flesh and bone. The ear is also the accumulation of experience which has served to educate the listener – preparing them for the present performance. There is a reason that musicians appreciate certain audiences.

Now comes the truly magical part of a live performance. Not only is the perception of the audience altered by the presence of the art, the experience (and performance) of the musicians can be altered by the aesthetic of the stage. While it is true that art cannot reach into a CD and change the music, that is not as true with a live performance.

In a live performance there are feedback loops between the performers, the audience, the audiences’ perception of the music, the audiences’ perception of the art.

How and why does this operate? Fortunately, as an audience member it doesn’t really matter whether or not I understand why I like jazz or how the presence of Jazz Art can contribute to my listening experience. It only matters that the musicians know how to do what they do, and that the artists know how to do what they do. In the case of the musicians and artists, it matters a great deal how well trained they are in their respective crafts, and how well they are able to bring themselves into the task.

The fusion of jazz and art is something which works. Everyone that experiences the results of this fusion is so impressed with the positive contribution of the art to the music that it is a mystery why art has not been an integral part of jazz performances.

But don’t take my word for it, do the experiment. Plunk yourself down somewhere, somehow so that you can give a listen to jazz while viewing Jazz Art. You tell me whether the art contributes to your experience of the music. You tell me whether your experience of the art is modified by the music.

Humans love to find patterns – we are pattern finding machines. Don’t believe me, sit in front of a vintage television tuned off-station. Watch the television snow – the visual chaos of buzzing color dots. After a surprisingly short time, you will begin to see images emerge from the visual static. Some of these images will be so detailed and so specific that you will become convinced that somehow a nearby channel has shifted frequency and the television is now displaying a partial transmission. Even with no antenna,  no cable, no signal input of any sort, you will not be able to shake the notion that the television is somehow picking up images from some source – they can become that sharp in detail.

You are correct to assume that there is a source of origin for these images. However, do not look to the television or satellite as the source of these images. There is a source. That source is you. Somehow, somewhere lurking amongst the lumps of neural circuitry that passes for your brain is a little something or other responsible for these images emerging.

If you feel inclined to be impressed by your ability to create a detailed image of a cowboy riding a bucking bronco from the stuff of television snow – go ahead, be impressed.  But don’t be surprised. After all, are you not able to create amazingly detailed, fully tactile hallucinations at night? The same salt-water bioware  that creates these dreams could easily make a horse and cowboy from television static.

Not only is the human brain eminently capable of finding these patterns, it wants to. 
Humans love to find patterns – patterns in sights, patterns in sounds, patterns in actions, patterns in intentions, patterns in behavior, patterns in movement. patterns in just about everything. In fact, every form of data perceptible by the human is subjected to this pattern finding mania.

How did we come to do this? The answer to this is an interesting study in evolution, and the anthropology of humans.

How do we do this? The answer to this is a thoroughly engrossing adventure in biology, chemistry, neurology, and every other aspect of  human biophysics.

What comes of this pattern finding? The answer to this could lead us into the deeper recesses of human psychology.

Where we do this? The answer to this can provide a handle on the engineering of entertainment and the human environment.

The above questions while full of potential, are beyond the scope of this short discussion – remember it’s supposed to be about Jazz Art. For the moment, the fact that this mania for pattern finding exists is enough.

Take it as given that we love to find patterns.

You’ll notice that I’ve said: “we love to find patterns.” A simpler formulation of this might be “we find patterns.” But that would overlook the essential element – we love to find patterns. Not only are we good at finding patterns, we take pleasure in doing it.

The text below is extracted from a book I’m currently working on.

Perhaps you have heard the quote “An unexamined life is not worth living.” While you may attribute this to Johnny Depp or yet another Hollywood celeb, the quote actually comes to us from a friend of Bill & Ted – Socrates.

It was during the punishment phase of his trial, that Socrates uttered these words: An unexamined life is not worth living. He was convicted of being an interloping old fart – and generally a nuisance to the state. You see, Socrates had this habit of poking and prying and generally seeking after truth. The state took a dim view of this behavior.

When asked during the penalty phase whether he should be killed, exiled, or imprisoned Socrates suggested he should be given a reward for his selfless contributions to Athenian society. For some reason this suggestion did not sit well with the judges. Ultimately, Socrates chose death as a final punctuation mark for his stated view that participation in conversation whose goal is the search for wisdom is essential for the nurturing and growth of a soul as well as for the health and welfare of the state. And this is how a hemlock frappuccino became the exclamation point of Socrates life.

While we certainly aren’t suggesting a hemlock frappuccino, we definitely advocate participation in conversation whose goal is the search for wisdom and nurturing the growth of a soul – i.e. living an examined life. There are many ways to go about this. Socratic Debate is one method, journaling is another, and the RPS (Roll Playing Safari) Game is yet another.

I was reading an article by Jakob Nielsen on Website Response Times, when an odd thought crept into my the edges of my awareness. What if we applied these comments to communication response rather than browser response?

When a user clicks on a link in their browser they expect the browser to respond by fetching the page and rendering it in the browser window. Not only do they have an expectation that this event will occur, they have very definite expectations about how the event will occur.

They expect the returned page to be the one they clicked on. They expect the page to be rendered rapidly. And, they expect the page to be rendered well.

Jakob points out in his excellent article, two of key reasons for the need for speed is: 1) As we wait for response the inevitability of short term memory erasure causes us to suffer the decay of information. 2) We like to feel in control of our destinies rather than subjugated to the whims and control of something else. And when companies make us wait instead of providing responsive service they seem arrogant or incompetent.

These comments work equally well whether talking about response time from clicking a url on a web page or or a customers communication through email, phone, or what have you.

When a customer contacts you it is important to do the following:

• Reply promptly.
• Reply in a fashion they recognize as related to their question.
• Reply well.

It is more important to reply promptly then correctly. If you don’t have the answer to a customers question, or if you know you cannot give the customer the answer they want, still reply quickly. Even if it is only to say, we got your question and will answer it soon.

Within the first sentence of the first paragraph you need to say something that tells the customer you “got” their question. If you do not in some way duplicate back to the customer their question, they may think you did not receive the original question. Or, they may think you are too stupid to understand the question. Or, worse yet, they may think you have no regard for their question as written — and by extension, no regard for the customer. So at best you will look incompetent, and at worst you will look callous and uncaring.

And it is important that your response is rendered well. Start with spell check and grammar check. But, don’t stop there. Actually re-read your response to see it from the perspective of the customer. Is the answer well handled. This will reflect significantly on you and your company. Unfortunately you have more opportunity to lose points than to gain points. Customers expect a well formulated response. So if you answer well, that is par for the course — no extra points for doing your job as expected. But, if you respond poorly, you will lose points big time.

All of these points make sense, and have been covered before separately — and perhaps even together. The thing which struck me today was a new rationale for why this makes sense. It goes beyond following protocols that have been proven in the past to have good results. It gets right down to the meat of the matter.

These suggestions are made because they 1) Get back to the customer at a time when they still remember why they wanted to contact you in the first place — while it is still new business. And, 2) It allows to feel in control rather than subjugated to your whim.

When the customer initiates communication they are predisposed to communication — maybe not purchase, but certainly communication. You have their interest, and you have their attention. Having a customer’s attention is paramount. Without it nothing is possible. So act while you have that attention.

Allowing the customer to maintain that sense of control will keep thing flowing. Make the customer feel like they are at your whim and under your control and you lose their willing participation. You might be able to trick them to do what you want in any case. But it is so much better to have a willing participant in any interaction.

If you are the kind of person, or the kind of company, that allows the customer to have a sense of control, you will go much further — and have a better time getting there.

You will note, however, that I have been careful to say “allow the customer a sense of control. It is possible to control the flow of communication and get your business done while allowing the customer to feel empowered.

And this brings me to the something I was hoping to communicate. I know businesses want to do their business. If they are in the business of selling cars, they want to sell cars. If they are in the business of selling cable services, they want to sell cable service. But, here’s the thing. If they just change how they do their business they can contribute to the healing of the world and still do business.

It is totally possible to sell cable service and deliver that service without at the same time making the customers feel powerless and at the whim of uncaring forces over which they have no control and can expect no mercy. I believe there is a model of business that will still get the job done and treat the customers with dignity.

The simple act of treating customers with dignity could go a long way toward healing the deep wounds from which so many suffer. I know this runs counter to the abusive “me: tyrannical feudal lord” and “you: serf” attitude so prevalent amongst power possessors in our corporate culture. Still it would be nice.

On one of my other blogs SEO Made Easy, I have outlined a rather involved and perhaps tedious process to brainstorm, organize, expand, and refine a websites keyword list. Lord have mercy the process looks daunting — even to me.

Question: So why go through all of this effort to find keywords and keyword phrases?

Answer: Because you are looking for lightning to strike.

You are hoping that somewhere during the process of hunting up keywords you will stumble across those total gems that will completely alter your website and marketing of it.

I’ll give you an example. A friend was working on his website devoted to astral projection. When going through the process of creating a list of keywords he was suddenly reminded of the phrase astral travel. This might seem like such an obvious phrase to include. But, for some reason he was temporarily blinded to it. Doesn’t matter why. What matters is that through the simple process of gathering keywords he was in fact reminded of it.

This may seem like a small thing. However, when you consider that 30% of the traffic in this niche is generated by interest in astral travel, you realize how important this little reminder was.

Perhaps not the most dramatic example. But, it should give you the idea of what is meant by looking for lightning to strike.

By my reckoning there are six steps (or phases) in a sale. I know that many folks talk about “The Four Steps To A Sale.” I like to consider the full range of six. Yes, these can be broken down even further. But for me these fit the bill.

Below are the six steps to a sale:

1. Need
2. Awareness
3. Consideration/Research
4. Decision
5. Purchase
6. Post Purchase Valuation

1 Need

The first step in the sale is a need. There is always a need first. Even in those mythical sales of snow to an Eskimo there was a need. The need was not for snow. But there was a need for something. You can’t make a sale without the interest of your customer. And, you can’t get the interest of a customer unless it is of personal interest to them — in a way they understand. That type of interest comes from need.

2 Awareness

This is not awareness in general, although that might be nice, this is awareness of the possibility of a solution to the need. Walking around with a need is one thing. Walking around with a need and stumbling upon the prospect of handling that need is something all together different.

What if the need is for this gosh darn abscessed tooth to stop hurting. Well, believe it life will be much different the moment that individual learns of the existence of something known as a dentist.

So part of the sales process is communicating the existence of a solution to a need. Yelling the word “dentist” will not really get the point across. It would be better to put the word into context so that the connection between dentist and the blissful release from pounding, agonizing tooth pain was made.

3 Consideration/Research

After the customer is made aware that there is the possibility of solutions to a need, they may go into the consideration and research phase of the sale. This is the time when they find out what options they have, weigh the pluses and minuses of the different options, get advice, seek opinions, you know — do research and consider.

4 Decision

At some point in the process of consideration and research the customer makes the decision to buy. A little alarm goes off in their head and they transition from thinking about maybe perhaps getting ready to possibly buy to “yeah, let’s get this.”

5 Purchase

Now we get to the part that sales people like, the purchase. Something that some sales people forget to do is “ask for the sale.” What I mean by that is the following: when you can tell that your customer has made the decision to buy speak up and ask for the sale. “Will that be Visa or Master Card?” “Will you be taking that with your or shall we have it delivered?”

6 Post Purchase Valuation

Some folks like to think that the sale is over when the customer walks out the door with the item. This is far from the truth. After the purchase there is the part where the customer figures out whether this was a huge mistake or the greatest purchase they ever made. If they figure it was a huge mistake, they may attempt to return the item. If they figure it was the best purchase they ever made, they may tell their friends and family to go buy one too. This is where word of mouth advertising comes from — from happy customers, not upset folks that regret the day they heard about the product.

What to do about the above steps

Each of these steps offer unique opportunity for a sales person to move the process along — influence, help, and guidance can be offered at each step. Just ascertaining which phase a customer is in when you speak with them can help you orient yourself.

For the moment, just start by acknowledging the six steps (or phases) to a sale exist. Then start paying attention. Once you know something exists, you’d be surprised how much you can figure out on your own.

When I say “good” I am not referring to moral or virtuous. “Good” in this context is more related to functional. Take a look at the list below of characteristics that define a good goal.

• Specific.  
• Realistic.
• Challenging.
• Measurable. 

Specific

If a goal is too general it soon becomes un-realistic and non-measurable. “I want to bring about world peace” is a nice goal but it is not a good goal. It is too general, not specific enough. Start with something a bit more specific. “I want to make the local high school a safe place for learning.” This is not as grand a goal. But it is realistic and measurable.

Realistic

Make the goal something that you can actually see yourself (or anyone) accomplishing. “I want to walk on the moon bare-butt naked” is not very realistic. If the goal is too far from possible you will quickly forgive yourself from not making serious efforts and dismiss the goal.

Challenging

When considering challenge, there should be short term challenge in addition to long term challenge. I’ll give you an example. Years and years ago I set myself the goal of filling a bound notebook with zeros. In case you are wondering, I wasn’t on drugs — leastwise not at the time. The goal was specific (I knew exactly which notebook I had in mind). The goal was realistic (The notebook had 350 pages and I could easily fill three pages in a sitting.) And the goal was challenging — in the long run. It was a challenge to sit myself down a couple times a day to make zeros in this notebook. So there was a long term challenge. But, this thing became a total drag after just a few days. Then somewhere along the line I introduced a secondary goal of making the zeros the best zeros I could make. Now I had a long term challenge. But more importantly I also had a short term challenge. Each minute I worked at the notebook I was challenging myself to make the zero I was working on the best zero I could make.

I find it important to have a short term challenge as well.

Measurable

If you can’t tell whether you are accomplishing the goal then its not much of a goal. It could still be something you do. But as a goal it will suck. A goal really does imply some kind of yard stick to measure progress and success.  Is it absolutely necessary? Can you have a goal that can not be measured? Yes, you can have a goal that can not be measured. This is not the Department of Fascist Oversight of Goals.

However, be aware of the fact that a goal that can be measured will just function better. Remember “good” is not a measure of moral or virtuous. “Good” in this context is a measure of functionality. There are many goals that we adopt which are not “good” goals.

Take for example the goal “To lead a virtuous life.” or “To be a good person.” As goals these fail in almost every category. However, they are goals worth having.

If you find yourself with goals that are worth having but that don’t happen to be “good” goals in the functional sense, all you need to do is make sub-goals. Make goals that serve the higher goals.