Open up your mind and say, ahh...

The 1-ton Curiosity rover used its arm-mounted drill to bore a hole 0.63 inches (1.6 centimeters) wide and 2.5 inches (6.4 cm) deep in a section of sedimentary bedrock on Friday (Feb. 8). The activity paves the way for the first-ever analysis of fresh Martian subsurface material and provides the last major checkout of the robot’s gear and instruments, researchers said.

“The most advanced planetary robot ever designed now is a fully operating analytical laboratory on Mars,” John Grunsfeld, associate administrator for NASA’s Science Mission Directorate, said in a statement. “This is the biggest milestone accomplishment for the Curiosity team since the sky-crane landing last August, another proud day for America.”

Curiosity will process the sample over the next few days, researchers said. The rover will use some of the material to scour its sample-handling hardware clean of any residues that may remain from Earth before transferring any powder to the analytical instruments on the rover’s body.

“We’ll take the powder we acquired and swish it around to scrub the internal surfaces of the drill bit assembly,” said Curiosity drill systems engineer Scott McCloskey, of NASA’s Jet Propulsion Laboratory (JPL) in Pasadena, Calif. “Then we’ll use the arm to transfer the powder out of the drill into the scoop, which will be our first chance to see the acquired sample.”

Drilling so deep into a Red Planet rock is a complex and unprecedented maneuver, so the mission team worked its way up to the first effort in a steady, stepwise fashion.

About two weeks ago, Curiosity began assessing the target rock, which is part of an outcrop called “John Klein” that was exposed to liquid water long ago. The rover first pressed down on the rock with its arm-mounted drill in a series of “pre-load” tests. It then used the drill’s percussive action to hammer the outcrop without spinning the drill bit, which cleared the way for a recent “mini-drill” that bored into rock but didn’t collect samples.

Getting Curiosity ready for all these steps — and for yesterday’s successful full-up drilling run — also took a lot of prep work here on Earth, researchers said.

“Building a tool to interact forcefully with unpredictable rocks on Mars required an ambitious development and testing program,” said JPL’s Louise Jandura, chief engineer for Curiosity’s sample system. “To get to the point of making this hole in a rock on Mars, we made eight drills and bored more than 1,200 holes in 20 types of rock on Earth.”

Curiosity landed inside Mars’ huge Gale Crater on the night of Aug. 5 to determine if the area has ever been capable of supporting microbial life. Along with its 10 science instruments and 17 cameras, the rover’s drill is considered key to this quest, for it allows scientists to peer deep into Martian rocks for evidence of past habitability.

Image courtesy of NASA/JPL-Caltech/MSSS

We’ve all suffered through a lunch, date, or meeting with a monologist–you know, a person who, oblivious to social cues, dominates the conversation, shows little interest in others around the table, and, when someone tries to shove in one’s oar, raises his voice to drown out the hope of a dialogue.

The question is, how to call out the offender on his obnoxious behavior when you can’t get a word in edgewise? One way is to throw his words back at him. Two Japanese researchers have created a gunlike instrument that does just that. Using the principle of delayed audio feedback, their SpeechJammer records speech and plays it back with a split-second pause, effectively stupefying and silencing the speaker.

Kazutaka Kurihara, a researcher at the National Institute of Advanced Industrial Science and Technology, thought up the idea after participating in a demonstration of delayed audio feedback at a local museum. “When I spoke to a microphone, my voice came back to me after a few hundred millisecond delay, then I could not continue to speak anymore,” Kurihara tells Co.Design. “Around that time, my research interest was about developing a system that controls appropriate turn-taking at discussions and was looking for technologies to enforce some discussion rules for participants. Then I came up with the gun type SpeechJammer idea utilizing DAF. That’s the destiny.” He recruited his friend, Koji Tsukada, a “gadget master” at Ochanomizu University, to help him realize the concept, consisting of a direction-sensitive mic and speaker, a distance sensor, a laser pointer, and a microcontroller.

Kurihara stresses that the intent isn’t only to shut up blabbermouths but to allow space for the less vocal to join the conversation. “Fair discussions are essential for resolving conflicts through communication,” he and Tsukada write in their paper. “However, some people tend to lengthen their turns or deliberately interrupt other people when it is their turn in order to establish their presence rather than achieve more fruitful discussions.” SpeechJammer was conceived to correct such abuses and allow all participants to have an equal say in proceedings.

The technology behind the idea might be overkill: Under ordinary circumstances, thrusting a mic-equipped gun into a person’s face should be enough to throw anyone off his game. But in the case of, say, the upcoming presidential debates, we can imagine it being an entirely effective (and somewhat hilarious) way to impose time restrictions.

Image: Everett Collection/Shutterstock

If you take a close look at Facebook’s S-1 registration statement, you’ll notice something striking: Designers are called out as key to the company’s longterm strategic success.

Tech company filings often call out certain job functions—like engineering—and the organization’s ability ability to fill those position as crucial to its success. But designers? That’s almost unheard of. And yet, there they are. In the section titled “Factors Affecting Our Performance,” Facebook’s filing reads: “We have also made and intend to make acquisitions with the primary objective of adding software engineers, product designers, and other personnel with certain technology expertise.” And in the section titled “Competition,” it says, “We compete to attract and retain highly talented individuals, especially software engineers, designers, and product managers.” (Emphasis added in both cases.)

Facebook says they’ve only scratched the surface of their roadmap.

The mentions underline the importance (little-noticed until now) that Facebook places on its design team. In a story on that team, which ran in the April issue of Fast Company, VP of product Chris Cox and others told the magazine how the company is looking to its right-brainers to help them do something that’s essentially never been done in software before: Design interfaces that catalyze emotions, rather than simply enable users to accomplish tasks.

Chris Cox

Designing for Facebook, Cox said, gets at “the science of things you can’t reason about, that you just feel.” He added: “That’s why, when we’re trying to accomplish something that’s pretty new, it’s important to be iterating in that design mindset.”

That mindset is only going to become increasingly important. Facebook executives say they’ve only scratched the surface of their roadmap. As a result, the company’s been on a hiring tear, tracking down and convincing some of the tech world’s brightest design talent to join the company, including, most recently, the team at Gowalla (brought in via an acquisition) and Elizabeth Windram, a former staff designer at Google who was snatched away from Quora just months after she joined that company.

CLICK ABOVE FOR OUR SLIDESHOW OF FACEBOOK’S NOTABLE DESIGN HIRES

Notably, tracking down the right people and persuading them to join the team is so important that Facebook doesn’t leave the job to HR alone. “We started keeping a dream team list about two-and-a-half years ago,” Director of Design Kate Aronowitz tells Co.Design. “We thought, ‘What if we could assemble all these people in one room?’”

Nicholas Felton and Kate Aronowitz, Facebook’s Director of Design.

The design team themselves maintain Facebook Group called Design Recruiting (yes, the company uses the site as one of its core productivity tools) that team members fill up with the names and portfolios of designers they admire. And Aronowitz says she herself regularly cuddles up with an iPhone or iPad before bed, surfing through a series of apps, looking for flashes of genius.

Members of the design team reach out to targets themselves, meeting up with them at conferences or inviting them out for dinner or drinks, both to test for fit (“see if our values line up and see if we get excited about the same things,” Aronowitz says) and to make the case for joining Facebook.

The design team reaches out to targets themselves. For some, Facebook brings out the big guns.

For some targets, Facebook even brings out the big guns. Both Nicholas Felton, the information designer behind the wildly popular Feltron Annual Reports, and Mike Matas, who worked on the original iPhone and then cofounded Push Pop Press, which created the Apple Award-winning tablet book version of Our Choice, Al Gore’s follow-up to An Inconvenient Truth, got personal invitations from the main man himself, CEO Mark Zuckerberg. (The email Felton saw in his inbox was so casual that at first, he tells Co.Design, he thought it was just a message from Zuckerberg to all Facebook users.)

That email led to a visit to Facebook headquarters for then-New York-based Felton and his partner Ryan Case. Zuckerberg took them on a a walk through the leafy Palo Alto neighborhood where the company was located at the time. He asked them what they were hoping to do with Daytum and talked about his own visions for Facebook. (Matas tells a similar story, of how an initial invitation from Zuckerberg to come talk about Push Pop Press led, several months later, to a formal offer to join the company.)

For all the outreach Facebook does, the bar to actually getting in the door remains high. “I only hire about one out of every hundred portfolios I look at,” Aronowitz told a group of designers at an event at Dave McClure’s 500 Startups last winter.

Facebook isn’t looking for your run-of-the-mill “pixel pusher.” When we meet at Facebook headquarters, Aronowitz ticks off three qualities she looks for: A personal vision (about what the world needs or where design is going), a sense of ownership over the projects they work on, and a “builder” mindset. “We’re looking for people who can say, ‘I have a product idea, I can think through a need, I can think through a customer base, build something, ship it, and then iterate based on how it’s being used.’”

I only hire about one out of every hundred portfolios I look at.

That’s because once they get to Facebook, designers don’t sit in a corner and wait for people to toss requirements at them. Rather, they enjoy an unusually high level of involvement in the product, starting at the very beginning as executives and product leads discuss what they should build. “Here, the designers will be in almost every conversation about their product,” Aronowitz says.

The designers’ involvement is so deep that they often partner with product managers to lead feature teams. Sometimes they even take the lead on their own.

Sofa, the firm that created ingenious apps like this one, was bought outright by Facebook. The team now works on polishing the site’s icons and visual elements.

Last year, for example, we wrote about how Rob Mason, a fresh-faced young graduate from England, with little more than a few Facebook apps under his belt, was handed responsibility for the Skype integration barely moments after he’d walked in the door. “Go figure out what the experience of doing video calls on Facebook should be,” he was told. He spent a few months tinkering around with it and eventually threw out the book on historical video chat conventions, coming up instead with something simple, straightforward, and so easy to use that, as one of the designers said at the time, even his mom could figure it out.

When the designers they hire are particularly good–when the company believes in their own unique genius–the company gives them free reign to come up with their own portfolio. When Matas joined Facebook last year with his Push Pop cofounder Kimon Tsinteris, for example, the two were given an office and told to think about what new features and products they thought Facebook should be doing next.

“If you can hire people that are good,” Cox explains, “you’re crazy to not give them the chance to set up the definition of what they’re doing.”

And not to keep them close. Both Zuckerberg and Cox spend the bulk their days in product meetings, working cheek-by-jowl with designers and product managers, hammering out the company’s next feature sets.

In the old Palo Alto campus, the company’s designers were parked in the same giant, open-plan room where Zuckerberg, Cox, and the company’s other top executives sat. The new Menlo Park campus has nine buildings and room for 3,200 people. And still, the designers were put not just in the same building, but on the same floor—just one open-plan space over—as Zuckerberg and Cox, all of which facilitates the impromptu executive-designer desk-side conversations and hallway conferences that employees say is one of the keys to the company moving fast and generating breakthrough ideas.

“Design is more strategic than ever,” Aronowitz says. “Designers who come to Facebook have a massive scale of audience and a pretty big impact.”

Portraits by Jake Stangel for Fast Company.

Designers spend a lot of time giving advice to each other. There has been a litany of books by designers for designers. There have been a few by business people on how design can benefit business. But there have not been many about the process of design and creativity at the most fundamental level of all–the human brain. Jonah Lehrer’s Imagine is that book. Released a few weeks ago, it’s the most important book to hit design in many years, because it goes to the heart of how the mind works and offers surprising and immediately useful ideas on the neurological origins of creative insight.

Through a series of stories about some of history’s greatest creative breakthroughs, Lehrer takes the reader into how those ‘aha’ moments happen. By starting at the level of the individual and scaling up to communities, corporations, and even cities, Lehrer presents a measured and invigorating view of how our brains imagine new things. The book contains an endless array of helpful ways to think about creativity, but here are a few that struck me as most relevant to designers.

The Key to a Breakthrough: Daydreaming

We often feel guilty daydreaming. The time spent in an extra long shower or staring out the window feels wasted. But daydreaming is a critical component on the path to a creative breakthrough. The activity that takes place inside of our brains while we believe we’re daydreaming is unique and activates a part of our brain associated with insight. Lehrer describes the ‘3M attention policy’ that has been credited with several innovations over the course of that company’s history. The policy was based on an intuitive understanding of creativity that has since been validated by modern brain research:

The science of insight supports the 3M attention policy. Joydeep Bhattacharya, a psychologist at Goldsmiths, University of London, has used EEG to help explain why interrupting one’s focus–perhaps with a walk outside or a game of Ping-Pong–can be so helpful. Interestingly, Bhattacharya has found that it’s possible to predict that a person will solve an insight puzzle up to eight seconds before the insight actually arrives. …What is the predictive brain signal? The essential element is a steady rhythm of alpha waves emanating from the right hemisphere. While the precise function of alpha waves remains mysterious, they’re closely associated with relaxing activities, such as taking a warm shower. In fact, the waves are so crucial for insight that, according to Bhattacharya, subjects with insufficient alpha-wave activity are unable to utilize hints provided by the researchers.

Successful Teams Are Never Too Familiar With Each Other

We live in an increasingly complex world with increasingly complex problems that require teams of people working together. But sometimes what seems like a great team fails. Why? How do we best work together? How do we build creative teams with a greater likelihood of success?

To answer this question, Lehrer describes the work of Brian Uzzi, a sociologist at Northwestern University who sought to identify a model for successful group creativity. He analyzed what can often be a complex creative group endeavor: the Broadway musical.

He found that the success of musicals like West Side Story, one of the most critically and financially successful Broadway plays of the 20th century, can be understood by the nature of the social relationships of the creative team involved. Uzzi invented a designation called Q. Groups with high levels of Q are closely knit teams. Groups with lower levels of Q are essentially strangers. It’s the teams with the right mix of unfamiliarity and intimacy that are the best performers. West Side Story had the right mix of Broadway stars and virtual unknowns. And there is a clear pattern, Lehrer writes

Uzzi’s data clearly demonstrates that the best Broadway shows were produced with intermediate levels of social intimacy. A musical produced at the ideal level of Q was two and a half times more likely to be a commercial success than a musical produced with a low Q or high Q.

Lehrer speaking at PopTech on the power of outside intelligence.

Bring in an Outside Perspective

We have a saying at Bruce Mau Design: “Amateurs going in, experts going out.” For a long time, we struggled to articulate the benefit of being a “nonexpert” in a field. We often talk about “fresh eyes” in design. When you’re working too long with anything, by definition, you can’t “see” it anymore. It helps to get a person unfamiliar with the work to give a fresh perspective. Well, it turns out that this is a fundamental pillar of innovation: Our habits form what’s called a ventral route. It’s like a rut in a road. It gets so deep that you simply can’t get out without outside help. Using a story about InnoCentive as a starting point, Lehrer describes the paradox of expertise in that it can sometimes become an obstacle to creative problem solving:

There is something deeply counterintuitive about the success of InnoCentive. We assume that technical problems can be solved by people with technical expertise; the researcher most likely to find the answer is the one most familiar with the terms of the question. But that assumption is wrong. The people deep inside a domain–the chemists trying to solve a chemistry problem–often suffer from a kind of intellectual handicap. As a result, the impossible problem stays possible. It’s not until the challenge is shared with motivated outsiders that the solution can be found.

Those few stories are really just the beginning. The book also talks about the reason why Shakespeare was so prolific (your social scene has a whole lot to do with your chances of a creative breakthrough), how an autistic surfer has revolutionized surfing because he is predisposed to obsessive even debilitating attention to his craft (something all good designers are familiar with), and how the human friction we experience in cities is the key to their constant flourishing.

Lehrer’s book works well because it tells deeply human stories to illustrate the underlying science that drives the creativity of the subjects he describes. It’s for that reason that this book is so important for designers. It helps us understand what’s driving our creative impulses and thought processes at the most fundamental level. Lehrer, the science writer, may have been an amateur going in, but he’s an expert now. And we’re all the beneficiaries.

Buy Jonah Lehrer’s Imagine for $15 here.

Image: Sylverarts/Shutterstock

Paddy Harrington

Paddy Harrington is executive creative director for Bruce Mau Design (BMD), a member of the MDC Partners network. Since joining the Studio in 2003, Mr. … Continued