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            "note": "<p>Games rules act as creative restrictions</p>\n<p>Earlier studies in creativity [9] have showed that heavy restrictions on  idea generation activities actually can improve the outcome. In our  trial sessions the rules of the design games seem to play such a  positive role of restriction. For instance, in the User Game producing a  story with the restrictions of using the video cards at hand that fit  into the current “crossword” of the game seem to be an easier task for  the player than openly generating use stories firmly grounded in  ethnographic field data with the main goal of producing good design.</p>\n<p>Note: This indicates we should use specific and restrained improv games when designing our systems. Just \"Improvise\" is too open.</p>",
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            "note": "<p>Experiments with students doing improv exercises during a project....</p>\n<p>CCL: Our examples have shown us that if we want to access the innovation through experience potential of role playing that was laid out by Boal and Johnstone, we need to be attentive to its set-up.While the first three attempts did not enable us fully to get to work on that, the fourth and fifth showed that more preparation for the acting<br />itself, and the creation of an actor-audience situation, increased the ability of the design students to accomplish an in-depth reflection and discussion on interaction.</p>\n<p>The design project “Exploring Interactions”, in which I am involved as a tutor, challenges the students to design “everyday products (as) personal pathways that allow individuals to find and create their own experiences, (...) instead of operating a device to obtain a ‘commodity’or function...” [14]. Our inclusion of role playing workshops in this project was informed by the rationales discussed above. I monitored all of the activities described below from an action research perspective (as laid out by e.g. Robson [15]). I observed and recorded the activities, while also being substantially involved in planning them. I asked collaborators for peer review on the success of the activities, and I interviewed a few of the students some weeks later, after their final presentation. In all examples presented below, the role playing exercises took place at the project stage where user research had been carried out in the form of interviews or observations.The step to be taken next, aided by the role playing exercise, was design idea generation.</p>\n<p>Exp 1: Taking a situation from their prior research, they were asked to break it down into dramatic elements, improvise with the elements, then settle on a story, act it out, photograph that, print it out right away and lay it down in a storyboard collage.</p>\n<p>Eval 1: none of the four groups had actually experimented with an emerging story.All groups had taken a story they had previously sketched following their research, and played it through.They went away from the afternoon with a visual record of an interaction.This they said they valued. But on balance, it can be concluded that the students were mainly focused on dramatizing and presenting their story, rather than on the experience of being in that story, or on experimenting with unexpected interactions arising from the situation.</p>\n<p>Exp 2: a shorter workshop was held, for a larger group of about 30 students, in groups of three to five. In a short idea finding phase, the students were asked to use their prior user research to give a desired interaction a two-part name describing its quality.The technique hails from Hekkert and van Dijk’s ViP approach [16]. Each student then asked their group mates to act out this interaction. Each student’s design idea would be ‘played back’ to him or her as problem owner, with opportunity for adaption and discussion. In a sense, it was a mini forum theatre exercise [13].</p>\n<p>Eval 2: They did not seem to experience and direct the qualities of the interactions they were role playing much. Some decided to brainstorm instead, and one student commented:“We’re designers, not actors, you know.” It seems to be important to create a calm and somewhat secluded setting for such a workshop. And there may be a need to prepare students for the acting itself, to let them practice it and get a feel for it.</p>\n<p>Exp3: 3 researchers/designers in team meetings recall observations and enact them.</p>\n<p>Eval 3 : not so natural, not the good place to do it...</p>\n<p>Exp 4/5: The students were this time assigned roles.There was a group of actors, a group of observers, a group of scenario writers and a group of things makers. Each group of 4 to 6 students was given a written set of instructions about their role and given an hour’s time to practice, write, make, and prepare interpretations respectively.After an hour they all came together, and the scenario writers instructed the actors about their task, while the things makers provided things to act with. Short scenes were improvised by the actors before the audience of the other three groups. Inbetween and after the scenes, the observers led a discussion on what was seen.</p>\n<p>Eval 4/5: Both times, the students set about the workshop tasks with great earnest and application. Following the scenes being acted, they held discussions in which in-depth themes about the first- hand experience of interacting with things emerged.The students worked almost self-sufficiently throughout the entire workshop. In the time that the students had been given to prepare, tutors could take the time for some brief coaching and explanation for each group, so that the students came back to the forum with some confidence about their role.</p>\n<p>&nbsp;</p>",
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            "note": "<p>Cross disciplinary collaboration in design</p>\n<p>For instance there is a need to find ways of collaborating across various competences, interests, responsibilities and perhaps professional languages both within one organization, between several organizations and between the organizations and a group of (potential) users</p>\n<p>The overall aim of the design games is to help facilitate a user- centered design process for cross-disciplinary design groups early in the design process. Framing collaborative design activities in a game format, arguably improves idea generation and communication between stakeholders. By shifting focus to the game, power relations and other factors that might hamper idea generation, are downplayed.</p>\n<p>These approaches typically engage designers, users or both in constructing and enacting scenarios. However, as product development in ubiquitous computing typically involve network infrastructure as well as terminals and services, projects often have multiple stakeholders. Recognizing the contributions of later developments in scenario based design, we attempt to go further by expanding the scope of participation to include multiple stakeholders in concept design activities, and enhance their abilities of expressing and negotiating design ideas through a set of four design games.</p>",
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            "note": "<p>Rationales for role play in design</p>\n<p>communication within the design process, the increase of technological complexity, and the experience and empathy of designers.A fourth rationale is added: attentiveness to social change.</p>",
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            "note": "<p>﻿Improv for Social innovation</p>\n<p>Role playing can be a discoursive tool within design that promotes attentiveness to social change.The literature on Keith Johnstone’s ‘theatre sport’ [12] and Augusto Boal’s ‘forum theatre’ [13] shows that role playing has this potential. Nearly all design-related publications on role playing refer to either or both of these important innovators of improvisation techniques<br />in the past century. But the design-related publications tend not to make explicit the potential of attentiveness to social aspects that improvisation techniques hold: they can be a vehicle for the exploration of actions that depart from norms.The techniques hold a potential for innovating on interactions: through surprises, through inadvertent actions, and through reflection on these.There are many organizational and civic arenas where improvisation techniques are already used for the very purpose of discovering this innovation potential.<br />Role playing exercises, set up with Johnstone’s and Boal’s ideas in mind, might be of use to designers in deconstructing their own ways of interacting, in exploring ways of interacting that are someone else’s, and in experimenting with interpretations of interactions.With that, role playing exercises may enable designers to reflect social changes in their work without having to do so in a very explicit and text-based manner. Having subscribed to this notion as a rationale for role playing exercises, we have gone about setting up a number of those exercises. We are now at a point where we can ask: in how far was our set-up of the exercises successful in enabling students - and us - to reflect in-depth on interactions? This question is explored here.</p>",
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            "extra": "Participation, politique publique et durabilitéLa participation est une composante de la théorie politique du développement durable. D'un côté elle est revendiquée, généralement à partir de conflits locaux ou de débats sur les technologies, comme un droit, à l’encontre de décisions d'autorités publiques et privées auxquelles les opposants réclament un droit de parole. D'un autre côté elle est proposée, plus instrumentalement, par les autorités, notamment dans le cadre de programmes environnem...",
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