Design for the Mind Seven

Psychological Principles Of Persuasive

Design 1st Edition Victor S. Yocco
Visit to download the full and correct content document:
https://textbookfull.com/product/design-for-the-mind-seven-psychological-principles-of
-persuasive-design-1st-edition-victor-s-yocco/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Graphic Design School the Principles and Practices of

Graphic Design Calvert

https://textbookfull.com/product/graphic-design-school-the-
principles-and-practices-of-graphic-design-calvert/

Principles of Structural Design: Wood, Steel, and

Concrete Ram S. Gupta

https://textbookfull.com/product/principles-of-structural-design-
wood-steel-and-concrete-ram-s-gupta/

Design Principles for Photography 2nd Edition Jeremy

Webb

https://textbookfull.com/product/design-principles-for-
photography-2nd-edition-jeremy-webb/

A game design vocabulary exploring the foundational

principles behind good game design 1st Edition Anthropy

https://textbookfull.com/product/a-game-design-vocabulary-
exploring-the-foundational-principles-behind-good-game-
design-1st-edition-anthropy/
Principles of structural design : wood, steel, and
concrete Third Edition. Edition Ram S. Gupta

https://textbookfull.com/product/principles-of-structural-design-
wood-steel-and-concrete-third-edition-edition-ram-s-gupta/

Physical metallurgy : principles and design 1st Edition

Haidemenopoulos

https://textbookfull.com/product/physical-metallurgy-principles-
and-design-1st-edition-haidemenopoulos/

Calm Technology Principles and Patterns for Non

Intrusive Design 1st Edition Amber Case

https://textbookfull.com/product/calm-technology-principles-and-
patterns-for-non-intrusive-design-1st-edition-amber-case/

Principles of Inorganic Materials Design 3rd Edition

John N. Lalena

https://textbookfull.com/product/principles-of-inorganic-
materials-design-3rd-edition-john-n-lalena/

An Architecture of the Mind A Psychological Foundation

for the Science of Everyday Life Brendan Markey-Towler

https://textbookfull.com/product/an-architecture-of-the-mind-a-
psychological-foundation-for-the-science-of-everyday-life-
brendan-markey-towler/
Design for the Mind
ii
Design for the Mind
SEVEN PSYCHOLOGICAL PRINCIPLES OF PERSUASIVE DESIGN

VICTOR S. YOCCO

MANNING
SHELTER ISLAND
iv

For online information and ordering of this and other Manning books, please visit
www.manning.com. The publisher offers discounts on this book when ordered in quantity.
For more information, please contact
Special Sales Department
Manning Publications Co.
20 Baldwin Road
PO Box 761
Shelter Island, NY 11964
Email: orders@manning.com

©2016 by Manning Publications Co. All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in

any form or by means electronic, mechanical, photocopying, or otherwise, without prior written
permission of the publisher.

Many of the designations used by manufacturers and sellers to distinguish their products are
claimed as trademarks. Where those designations appear in the book, and Manning
Publications was aware of a trademark claim, the designations have been printed in initial caps
or all caps.

Recognizing the importance of preserving what has been written, it is Manning’s policy to have
the books we publish printed on acid-free paper, and we exert our best efforts to that end.
Recognizing also our responsibility to conserve the resources of our planet, Manning books are
printed on paper that is at least 15 percent recycled and processed without elemental chlorine.

Manning Publications Co. Development editor: Helen Stergius

20 Baldwin Road Technical development editor: Ryan Elston
PO Box 761 Review editor: Ozren Harlovic
Shelter Island, NY 11964 Project editor: Tiffany Taylor
Copyeditor: Liz Welch
Proofreader: Elizabeth Martin
Typesetter: Marija Tudor
Cover designer: Morgan Knepper

ISBN: 9781617292958
Printed in the United States of America
1 2 3 4 5 6 7 8 9 10 – EBM – 21 20 19 18 17 16
To Maxwell, Emily, and Eleanor Yocco
vi
 brief contents
PART 1 INTRODUCING THE APPLICATION
OF PSYCHOLOGY TO DESIGN ........................................ 1
1 ■
Meeting users’ needs: including psychology in design 3

PART 2 WHY DO FOLKS ACT LIKE THAT? PRINCIPLES OF BEHAVIOR 13

2 ■
Designing for regular use: addressing planned behavior 15
3 ■
Risky decisions and mental shortcuts 41
4 ■
Motivation, ability, and trigger—boom! 70

PART 3 PRINCIPLES OF INFLUENCE AND PERSUASION:

NOT AS EVIL AS YOU’D THINK ..................................... 91
5 ■
Influence: getting people to like and use your design 93
6 ■
Using family, friends, and social networks to
influence users 118
7 ■
It’s not what you say; it’s how you say it! 141
8 ■
Persuasion: the deadliest art 160

PART 4 USER EXPERIENCE DESIGN: PUTTING IT ALL TOGETHER 179

9 ■
Case study: KidTech Design Co.’s Good Choice app 181
10 ■
The next step: getting up and running 195

vii
viii BRIEF CONTENTS
 contents
preface xvii
acknowledgments xix
about this book xxi
Author Online xxv

PART 1 INTRODUCING THE APPLICATION

OF PSYCHOLOGY TO DESIGN ............................. 1

1 Meeting users’ needs: including psychology in design 3

1.1 Principles included in this book 4
Design to create and change behaviors 4 ■
Design for influence
and persuasion 4
1.2 Criteria for inclusion in this book 5
Taught in graduate school 5 Citations: a popularity
■

contest 5 Simplicity 5 Relevant to design 5

■ ■

1.3 Why you should read this book 6

You’ll gain knowledge 6 You’ll learn how to think like your
■

users 6 You’ll learn to communicate the needs of users 6

■

1.4 What this book won’t teach you 6

1.5 Addressing psychology enhances usability 7
What designing without psychology looks like 7 ■
What
designing with psychology looks like 8
1.6 And now, a passionate word on persuasion 9

ix
x CONTENTS

1.7 Talking the talk: conversations about psychology 11

1.8 Summary 11
1.9 Cheat sheet 12

PART 2 WHY DO FOLKS ACT LIKE THAT?

PRINCIPLES OF BEHAVIOR .............................. 13

2 Designing for regular use: addressing planned behavior

2.1 Introduction 16
15

Brief academic background 17

2.2 Key concepts of planned behavior 18
People want a positive outcome 19 People want to know what
■

others are doing 20 People want control 21 People often

■ ■

intend to engage in a behavior 22

2.3 How to design for users’ plans 23
Design for positive outcomes of using your design 23 Make ■

your design socially acceptable 26 Giving users control 28

■

Understanding who’s in charge of the behavior 30 Designing ■

for intention 32
2.4 Talking the talk: conversations about planned
behavior 33
2.5 Case study: Hotels.com 34
Hotels.com: behavior beliefs 34 Hotels.com: normative
■

beliefs 35 Hotels.com: control 36

■

2.6 End-of-chapter exercise: applying planned behavior

research to design 36
Scenario 37 Participants
■
37 ■
Data 37
Questions 39
2.7 Additional resources 39
2.8 Summary 40

3 Risky decisions and mental shortcuts

3.1 Introduction 43
41

Academic background 43
3.2 Key concepts of decision-making under risk 45
First, people go through editing 45 Next, people go through
■

evaluation 46 What impacts the evaluation of uncertain

■

decisions 47
 CONTENTS xi

3.3 How to design for decisions under risk 49

Determine users’ reference point 49 Define and design for ■

users’ decision points 51 Design for loss aversion 53

■

Design for the certainty effect 54 Design for the disposition

■

effect 55 How to design for heuristics 57

■

3.4 Talking the talk: Conversations about decisions under risk

and users’ mental shortcuts 63
3.5 Case study: eBay 64
Reference point 64 The certainty effect and the scarcity
■

heuristic 65 The availability heuristic 65 The familiarity

■ ■

heuristic 66 Escalation of commitment 66 The scarcity

■ ■

heuristic 67
3.6 End-of-chapter exercise: Name that heuristic! and What’s
your product’s sticky behavior? 67
Name that heuristic 67 ■
Sticky behaviors 67
3.7 Additional resources 68
3.8 Summary 68

4 Motivation, ability, and trigger—boom!

4.1 Introduction 72
70

Brief academic background 72

4.2 Key concepts of motivation, ability, and trigger 74
People need motivation to complete a task 75 People need the ■

ability to complete the task 76 People need triggers to engage in

■

the task 77
4.3 How to design for motivation, ability, and trigger 77
Increasing motivation 78 ■
Increasing ability 79
Presenting effective triggers 81 Mobile design increases
■

ability 83
4.4 Talking the talk: conversations about motivation, ability,
and trigger 84
4.5 Case study: Fitbit 85
4.6 End-of-chapter exercise: motivation, ability, and
trigger 86
Motivation, ability, or trigger 86 Design challenge: wearable
■

technology to achieve better health 87

4.7 Additional resources 88
4.8 Summary 88
xii CONTENTS

PART 3 PRINCIPLES OF INFLUENCE AND PERSUASION:

NOT AS EVIL AS YOU’D THINK ......................... 91

5 Influence: getting people to like and use your design

5.1 Introduction 94
93

Academic background 95
5.2 Key concepts of influence 96
Reciprocity 97 Commitment and consistency
■
98
Consultation 99 Visual influence 100
■

5.3 How to design for influence 101

Creating a sense of reciprocity 102 Activating commitment
■

and consistency 104 Facilitating consultation 105

■

Visual influence 106 Influence to stay away from 110

■

5.4 Talking the talk: Conversations about influence 112

5.5 Case study: LinkedIn 113
Reciprocity 113 Commitment and consistency
■
114
Consultation 114
5.6 End-of-chapter exercise: Applying the principle of
influence 115
5.7 Additional resources 116
5.8 Summary 116

6 Using family, friends, and social networks to influence users

6.1 Introduction 120
118

Brief academic background 120

6.2 Key concepts of social influence 121
Social Identity Theory 121 Social validation 123
■

Compliance 124 Conformity 124 Opinion leaders

■ ■
125
6.3 How to design for social influence 127
Users want to see what they have in common with others 127
Socially validating your design 129 Getting users to
■

comply 130 Encouraging users to conform 132

■

Harnessing the power of opinion leaders 134

6.4 Talking the talk: Conversations about social
influence 135
6.5 Case study: Drought shaming 135
Social Identity Theory and drought shaming 136 Social ■

validation 138 Compliance 138 Conformity 138

■ ■

Opinion leaders 138

 CONTENTS xiii

6.6 End-of-chapter exercise 139

6.7 Additional resources 139
6.8 Summary 140

7 It’s not what you say; it’s how you say it!
7.1 Introduction 143
141

Brief academic background 143

7.2 Key concepts of framing communication 143
People need to understand the message 144 ■
People need to be
motivated by the message 144
7.3 How to design for framing communication 144
Identify what you want to communicate 145 User ■

research 145 Choose a framing technique 146

■

Choose your frame of communication 149 Create your ■

message 153 Test your message 154 Release your well-

■ ■

framed message 155

7.4 Talking the talk: Conversations about framing
communication 155
7.5 Case study: BeTobaccoFree.gov 156
A variety of frames: The buckshot approach 156 ■
Is the CDC’s
approach effective? 157
7.6 End-of-chapter exercise: Find a frame that works! 158
7.7 Additional resources 158
7.8 Summary 159

8 Persuasion: the deadliest art

8.1 Introduction 162
160

Academic background 162

8.2 Key concepts of persuasion 163
Determining if people pay attention: Capability and
relevancy 163 Central route processing 164 Peripheral
■ ■

route processing 165

8.3 How to design for persuasion 166
Getting users to pay close attention 166 Designing for users’
■

paying close attention 168 Designing for users with low

■

attention spans 171

8.4 Talking the talk: Conversations about persuasion 172
8.5 Case study: PayPal 173
Attention 173 ■
High attention 174 ■
Low attention 175
xiv CONTENTS

8.6 End-of-chapter exercise: Sexy chocolate bar persuasive

design activity 175
Personas 176 ■
Research 176
8.7 Additional resources 177
8.8 Summary 177

PART 4 USER EXPERIENCE DESIGN:

PUTTING IT ALL TOGETHER .......................... 179

9 Case study: KidTech Design Co.’s Good Choice app

9.1 Introduction 181
181

9.2 Using psychology to justify an idea 182

How would you use psychology to justify the Good Choice
app? 182 How KidTech used psychology to justify the Good
■

Choice app: Planned behavior 182 How KidTech extended

■

planned behavior into the design of their product 183

9.3 Nervous parents and uncertain outcomes 184
How would you reassure parents and address uncertainty? 184
How KidTech addressed reassuring parents and
uncertainty 184
9.4 Making it social 185
How would you make the Good Choice app social? 185
How KidTech made the app social 186
9.5 Speaking clearly to users 186
How would you recommend KidTech talk to users? 187
How KidTech designed their communication strategy 187
9.6 Long-term engagement 188
How would you make users want to keep using the app? 188
How KidTech facilitated long-term use of the app 188
9.7 Low use of app after download 189
How would you help KidTech increase use after download? 189
How KidTech addressed increasing use after download 189
9.8 A closer look at persuasion 190
How do you think the Good Choice app addresses the principle of
persuasion from chapter 8? 190 How KidTech’s app
■

addresses the principle of persuasion from chapter 8 190

9.9 Talking the talk: Conversations about psychological
principles 192
 CONTENTS xv

9.10 End-of-chapter exercise: Critique KidTech 192

9.11 Summary 193

10 The next step: getting up and running

10.1 Part of the whole 196
195

Phase 1: Idea conceptualization 196 Phase 2: Design

■

conceptualization 196 Phase 3: Design iteration 197

■

Phase 4: Post shipment 197

10.2 Choosing the right principle 198
10.3 Making the case for psychology 199
10.4 UX research methods 199
10.5 Measuring impact 201
10.6 Talking the talk: your turn to discuss principles of
psychology 202
10.7 End-of-chapter exercise: which principle is best for your
design? 202
10.8 Additional resources 203
10.9 Summary 204

index 205
xvi CONTENTS
2 CHAPTER
Another random document with
no related content on Scribd:
YÖ.

Kuink' aallot kuumat kuohupäin mun ylitseni lyö! Täys

lempeäin, täys lempeäin on mykkä, musta yö. Ma kohun
kuulen uhkaavan kuin tuuli erämaan. Oi myrskyn pauhun,
kuoleman se tuoko mukanaan —?

En pelkää tulta Samumin, jo liekkijuoman join. Ah,

auringoita tuhansin Ma yössä nähdä voin! Oon myrskyn
raivoon hukkuva kuin hehkuun hellyyden ja hiekkahautaan
nukkuva kuin alle ruusujen!
KOHTALO.

Kuin vanha jättiläinen pilvihin pään nostaa kellanharmaa

tulivuori. Sen halkeamat peittää laavakuori, kuin veri
hyytyneenä haavoihin.

Mut liepehellä paljaan tunturin on pinja tumman vihanta ja

nuori. Se latvan tuuheen taivahalle suori, kun ilma hehkui
sätein punaisin.

Maan uumenista kuuluu kumma pauhu, ja tuhkansakeana

verhoo sauhu kuin pilvi vuoren ammottavan suun.

Pian kuohuu esiin kuuma alkuaine, lyö yli seudun liekehtivä

laine ja laava hautaa alleen pinjapuun.
VIRTA.

On pitkä sateenkaari taivahalla, se yli kylmäin vetten

kaareutuu. Ja sinipunavihreen sillan alla vuo usvaa
henkäilevä uneksuu.

Mut virran himmeällä kaltahalla, oi katso, kasvaa villi

viinipuu! Se hedelmäinsä raskaan painon alla veen
poreilevaan peiliin kallistuu.

Jo itku tärisyttää ilman rantaa.

Käy ruuheen, armas, jonka kanssa verta
ma kultarypäleistä äsken join!

Niin meidät mittaamaton kymi kantaa päin kuolon suurta

sumuvaltamerta, miss' sammuneet ui pallot aurinkoin.
KUU.

Palaa taivaan lamppu, kullankirkas kuu.

Vastaa, kuu: onko siellä korkealla kenttää vihantaa, jolla

heinä huojuu, sinikellot aaltoaa?

Sieluni mun on niin kummainen, nauru, itku siellä rinnan

soi. Saanko, oi, olla kerran sinikello taivaan niittyjen?

Silloin ohitseni vaeltais saattamana pilvenhattarain ehkä

Hän, ken sieluni mun loi sellaiseksi, että siellä soi tuska,
riemu, epätoivo, autuus rinnakkain.

Varjo pyhä ylitseni lankeais — —

———

Palaa taivaan lamppu, kullankirkas kuu.

 *** END OF THE PROJECT GUTENBERG EBOOK KALLIO JA
MERI ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
 License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
 Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.