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EXPLORATORY DESIGN RESEARCH

EXPLORATORY DESIGN RESEARCH. Interaction Design South America 2011. Elizabeth Goodman, University of California, Berkeley. SCHEDULE. Introductions The nature of exploratory research Our project for today Asking initial questions Method 1: “Walking tour” Lunch Discussion

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EXPLORATORY DESIGN RESEARCH

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  1. EXPLORATORY DESIGN RESEARCH Interaction Design South America 2011 Elizabeth Goodman, University of California, Berkeley

  2. SCHEDULE • Introductions • The nature of exploratory research • Our project for today • Asking initial questions • Method 1: “Walking tour” • Lunch • Discussion • Method 2: Probes • Method 3: Co-creation • Method 4: Games

  3. INTRODUCTIONS • What’s your first name? • What is your job? • What would you like to learn at this workshop?

  4. ABOUT ME Urban exploration interfaces and games User research handbook geolocated chatting Ethnography of interaction design Community garden studies

  5. THE NATURE OF EXPLORATORY DESIGN RESEARCH What’s exploratory? What’s research?

  6. The researcher uses these methods not to answer precisely framed questions, but in order to generate the questions themselves, in directions he or she does not control: in order to find the blind spots. “Mapping the Experiential Context of Product Use” Pieter Jan Stappers, FroukjeSleeswijkVisser, and Ianus Keller

  7. DIMENSIONS of EXPLORATION inspiration behavior “Art” “Engineering” meaning information

  8. DESK RESEARCH !!! • Make things • Read a lot • Talk to many experts • Question assumptions Photo:Lalo de Almeida for The New York Times

  9. CLUES TO A GOOD PROJECT “Doing my I’s and O’s” “He’s a troll” “We never do that here” “That’s not punk rock” “Skydiving is crazy” Tricks of the Trade Howard Becker Basics of Qualitative Research Anselm Strauss and Juliet Corbin Jargon/slang Evocative imagery Absolutes Group definition and exclusion Accusations of insanity or stupidity

  10. LOOKING FOR RELATIONSHIPSBetween people, places, and objects From User-Centered to Participatory Design Approaches Elizabeth Sanders, 2002 Say Think Do Use Know Feel Dream

  11. LOOKING FOR RELATIONSHIPSBetween people, places, and objects Say Do Make From User-Centered to Participatory Design Approaches Elizabeth Sanders, 2002 Say Think Do Use Know Feel Dream

  12. LOOKING FOR RELATIONSHIPSBetween people, places, and objects Say Do Make Surveys Interviews Diaries Observation Probes/games Co-creation “From User-Centered to Participatory Design Approaches” Elizabeth Sanders Say Think Do Use Know Feel Dream

  13. LOOKING FOR RELATIONSHIPSBetween people, places, and objects Say Do Make Surveys Interviews Diaries Observation Probes/games Co-creation From User-Centered to Participatory Design Approaches Elizabeth Sanders Say Think Do Use Know Feel Dream

  14. Thoughtless Acts? Observations on Intuitive Design Jane Fulton Suri and IDEO The key is looking carefully at what people actually do in various situations and asking ourselves questions such as these… Why has someone placed this object here? What are those people doing and why are they grouped like that? Why is it that people apparently avoid being here? Curiosity will reveal meaning behind these nonspectacular interactions that take place around us all the time.

  15. OBSERVATION FRAMEWORK “Ethnography in the field of design” Christina Wasson (Doblin) Activities: What are people doing? Environments: Where is the action happening? Interactions: What operations are being carried out? Objects: What things are being put to use? Users: Which people are involved?

  16. EXPERIENTIAL ENCOUNTERS Traces Workarounds Paths Feelings Territories Goals Talk http://www.flickr.com/photos/loxea/4045627675/in/pool-thoughtlessacts

  17. OBSERVATION: TO MAKE/KEEP • Notes • Photos/Drawings • Maps • Souvenirs

  18. OBSERVATION Belo Horizonte • Pick a spot as a group • Inside or outside hotel • Stay there for at least 15 minutes • Don’t hide, but try not to stand out – especially if you are taking photographs • If anyone asks, you’re “doing this for a class assignment” • If people ask you to leave, move along. • Even if it’s boring – especially if it’s boring — stay in the place you chose for at least 15 minutes. Ask yourself: why do you think this boring? What’s happening during the “boring parts”?  Lunch

  19. OBSERVATION Discussion As other people talk, write down: what PEOPLE, ACTIVITIES, or TOOLS would be interesting to explore further? In your groups, pick 3 of your most interesting or surprising observations. Pick one person to present your 3 observations. You have 10 minutes. Tell us about them! Each group has 3 minutes.

  20. OUR PROJECT FOR TODAY Imagine that you have been asked to explore tourism in Belo Horizonte in order to design a new product or service. Where would you start?

  21. CULTURAL PROBESEncourage imaginative personal reflection through structured, but playful, activities Image: Mena Design Research

  22. About CULTURAL PROBES Photos: J Deruna/Flickr

  23. Making a CULTURAL PROBE ASK PEOPLE TO ACTIVITIES Photography Drawing Mapping Listing Collecting • IMAGINE possibilities, dreams, nightmares • CONNECT emotions and memories to places and products • INVITE fantasy, humor, whimsy Photo: GCBB/Flickr ON THEIR OWN, USING A KIT YOU GIVE THEM

  24. CULTURAL PROBE Tasks “Put a red dot on things you dislike and take a photo.” “Tell us about your dreams as soon as you wake up.” “Write a letter to your future self about your life now.” “Draw your path to school. Where do you feel safest?” Stickers Voice recorder Postcard Maps “Cultural Probes” Bill Gaver, Tony Dunne, and Elena Pacenti

  25. TOOLS FOR CULTURAL PROBES Camera Postcard Photo: GCBB/Flickr • Postcards • Stickers • Maps • Cameras • Voice recorders • Card decks • … et cetera! Stickers Maps Photo: J Deruna/Flickr

  26. CULTURAL PROBES HOW-TO Design the probe kit Give it to people Wait for them to return it Interpret for inspiration!

  27. PROBES are not DIARIES

  28. CULTURAL PROBE EXERCISE In your groups, invent 3 activities for a cultural probe of tourism in Belo Horizonte. • Who is the audience for your probe? You have 15 minutes.

  29. CULTURAL PROBE DISCUSSION Each group has 3 minutes to present their ideas, with 3 minutes for group comments.

  30. CULTURAL PROBE TIPS • Embrace personal interpretations • Schedule follow-up interviews to discuss with participants • Promise design inspiration, not informational recommendations “Cultural Probes and Uncertainty” Bill Gaver, Andrew Boucher, Sarah Pennington, and Brendan Walker.

  31. CO-CREATION with participants Photos: Felipe Sarmiento

  32. What is CO-CREATION? Generative techniques that allow people to tell stories about their experiences using creative play with objects Activities that involve non-designers in the design process Diabetes journey map: Gloria Murillo

  33. CO-CREATION TOOLKIT • Image collection • different subjects and styles, some more literally related, some more figurative or poetic • Cut-outs of paper, fabric, foam in geometric shapes • Scissors and glue • Colored markers Stickers from Wayne Chung

  34. CO-CREATION PRINCIPLES ACTIVITIES • “Day in the life” • Timelines/cycles • Autobiographies • Spatial maps • Mood boards/collages • Sticker-placing • Model-making • Prompt discussion about dreams, fears, beliefs • Ask people to express thoughts and emotions • Support creativity with ambiguous prompts • Focus on describing experiences rather than identifying features • Don’t reward polish or demand artistic skill

  35. CO-CREATION EXERCISE Make a timeline of your Belo Horizonte trip thus far. Then, discuss it with a partner.

  36. CO-CREATION EXERCISE Part 1 Take a sheet from the big pad and draw a horizontal line across it. This is your journey to BH. Now, take a look at the objects we have given you. Take any of them that seem to represent those steps and start gluing them along the line. You don’t have to use all the shapes – just use what makes sense to you. Use the pens to add any explanations or details that will complete the picture of your journey. Feel free to use the scissors to cut new shapes if you like. You have 10 minutes.

  37. CO-CREATION EXERCISE Part 2 • Ask your partner to explain their journey map to you. You might ask: • What does each shape mean? • Why did you pick that shape? • What did you learn about your journey in making this map? … or anything else. • After 5 minutes, it will be your partner’s turn to ask questions. Each person will have 5 minutes to talk.

  38. CO-CREATION TIPS • Schedule as a group workshop or as part of interviews • Using the same people to evaluate prototypes later gives consistency • Can be taken literally, for information, or as a source of inspiration. • Works well with cultural probes Spatial map of a kitchen activity FroukjeSleesjwikVisser

  39. BREAK – 15 MINUTES

  40. GAMES and PLAY

  41. WHAT MAKES A GAME? Defined Constraints + Defined Objectives (Points optional) Urban transportation roleplaying game by AlidehGhanpour Homo Ludens Johan Huizinga Man, Play and Games Roger Caillois Rules of Play Katie Salen and Eric Zimmerman

  42. GAMES are not GAMIFICATION

  43. USING GAMES TO ASK QUESTIONS PATTERNS • What-if • Role-playing • Buying and selling • Matching/grouping • Collecting • Races … et cetera TACTICS • Make a new game • Use an existing game • Modify a research activity to make it more game-like “Participatory Design: The Third Space in HCI” Michael Muller “Design Games” Donna Spencer

  44. Technique 1 FREELISTING ASK Constraints Under __ minutes In teams No points given for words shared with other teams Outcome The most items receives a prize List all the words you can think of that describe… Take as many photographs as you can of….

  45. Technique 2 THE MAGIC IF Ask Constraints Reversal of the usual Exaggeration of what exists now Absence of something you expect Presence of something new What would your day be like if… How would you respond if… Where would your life improve if…

  46. Technique 3 ROLEPLAY (Bodystorm) Try Constraints Under __ minutes In teams Outcome Empathize with potential users. Identify appropriate sites for intervention. Generate ideas for new interactions. Act out an activity that relates to your topic, using everyday objects as props. How does your body feel? Where do you encounter an obstacle? What causes the obstacle? Consider how you could change the situation to remove it.

  47. Technique 4 REFRAMING Ask Constraints Under __ minutes In teams Outcome Present the stories to the group People vote for the best idea Make a superhero for the situation. What are his/her special powers? Design the costume. Pitch a TV show about the lives of the people you’re interested in. Is it a comedy? A drama? Give it a name and describe the major characters.

  48. ACTING OUT Part 1 Pick an activity relevant to tourism. Choose people to act out all the roles in the situation. • If there are more people than roles, replay the scene with other people in the same roles. • If you need a prop, make one out of paper or use an available object as a substitute. Choose one person to act as the note-taker.

  49. ACTING OUT Part 2 Now, act it out! Move your body as the people in the situation move, and say what you remember them saying. If you feel a problem, obstacle, or moment of joy in the role you are playing, say “FREEZE!” and tell the note-taker about it. Then keep going. If you have time, try to solve the problems that you discovered while acting. You have 15 minutes to play.

  50. EXPLORATORYANALYSIS ASK • Where were/are the blind spots in your approach? • What would change this situation for the better? • What other situations are relevant to this research? • Where are the digital tools? Do you care? • What other questions do you have now? TOOLS • WRITE Thick/rich description of action • IDENTIFY recurring problems and responses • MAP Cycles of activity • Presence/absence • FOLLOW linear processes, growth • LIST Ecologies of tools

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