Ways of Seeing: Instructions For Lost
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Ways of Seeing: Instructions For Lost

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At a time where boundaries are blurred and things unfamiliar, we’re grappling our way through media unfamiliar and unchartered. We’re lost. Feelings of fear, isolation, and even panic set in as we ...

At a time where boundaries are blurred and things unfamiliar, we’re grappling our way through media unfamiliar and unchartered. We’re lost. Feelings of fear, isolation, and even panic set in as we grapple with strategies for making our way out of out situations. Yet what is often overlooked is the simple value of being out of one’s element. With being lost comes increased awareness, heightened perspective, and the potential for experience. John Dewey described this as “having an experience,” writers describe it as “being objective,” and designers describe it as “getting perspective.”

This workshop teaches intentional strategies for gaining perspective—the same strategies one might use when you get lost—giving you insight and critical perspective. Take that perspective back to your work so you can achieve a fresh and close way of viewing the world.

http://feastworkshop2.eventbrite.com/

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  • At a time where boundaries are blurred and things unfamiliar, we&#x2019;re grappling our way through media unfamiliar and unchartered. We&#x2019;re lost. Feelings of fear, isolation, and even panic set in as we grapple with strategies for making our way out of out situations. Yet what is often overlooked is the simple value of being out of one&#x2019;s element. With being lost comes increased awareness, heightened perspective, and the potential for experience. John Dewey described this as &#x201C;having an experience,&#x201D; writers describe it as &#x201C;being objective,&#x201D; and designers describe it as &#x201C;getting perspective.&#x201D; <br /> This workshop teaches intentional strategies for gaining perspective&#x2014;the same strategies one might use when you get lost&#x2014;giving you insight and critical perspective. Take that perspective back to your work so you can achieve a fresh and close way of viewing the world.
  • What do you see when you look at this photo? We all bring something different. You and you and you. In other words, a New Yorker might view this photo differently than someone from out of the city. This is what was so compelling about the Powers of Ten video. Perspective. But how do we get it?
  • A frame is something interesting in cognitive psychology. Kline Moon and Hoffman talk about sensemaking. Everything that you bring to the table, all your prior knowledge.
  • Erving Goffman defined frameworks in a book in the early 1970s, Framework Analysis. He showed how a person is likely to be unaware of such organized features as the framework and unable to describe the framework with any completeness if asked.
  • How do we break free of the design process we&#x2019;re all so familiar with? discover define design develop deploy
  • These suggest a tidy linear structure.
  • As a sequence, it&#x2019;s plan for achieving a goal is:
  • Yet as we all know the creative process is an iterative one that requires looping back and forth. Not always with the first try. It&#x2019;s built on accidents and inspiration, moments that happen through improvement. <br /> <br /> Created in collaboration with Jack Chung, Shelley Evenson, and Paul Pangaro.
  • This is how we&#x2019;re defining it.
  • A frame can be anything by which we view our work through.
  • When we come outside our familiar experiences, we gain a perspective unable to get while in familiar territory. If you&#x2019;ve gotten lost and been to restaurant and said, &#x201C;that was an experience&#x201D; you&#x2019;ve experienced this, even in small ways, yourself.
  • And frames allow us to recognize things quickly (like the email or come to design decisions quickly), but prevent us from PERCEIVING). But something is lost. We often lose the ability to see details that come with perceiving. Dare I say, how do we innovate?
  • There are three ways we can do this.
  • According to the construal level theory (CLT) of psychological distance, anything that we do not experience as occurring now, here, and to ourselves falls into the &#x201C;psychologically distant&#x201D; category. This research has important practical implications. It suggests that there are several simple steps we can all take to increase creativity, such as traveling to faraway places (or even just thinking about such places), thinking about the distant future, communicating with people who are dissimilar to us, and considering unlikely alternatives to reality. Lessons from a Faraway land: The effect of spatial distance on creative cognition <br /> <br /> Lile Jia, Edward R. Hirta and Samuel C. Karpena <br /> Department of Psychological and Brain Sciences, Indiana University <br /> <br /> http://www.scientificamerican.com/article.cfm?id=an-easy-way-to-increase-c
  • What this example demonstrates is how abstract thinking makes it easier for people to form surprising connections between seemingly unrelated concepts, such as fast growing plants (corn) and fuel for cars (ethanol).
  • What this example demonstrates is how abstract thinking makes it easier for people to form surprising connections between seemingly unrelated concepts, such as fast growing plants (corn) and fuel for cars (ethanol).
  • What this example demonstrates is how abstract thinking makes it easier for people to form surprising connections between seemingly unrelated concepts, such as fast growing plants (corn) and fuel for cars (ethanol).
  • It suggests that there are several simple steps we can all take to increase creativity, such as traveling to faraway places (or even just thinking about such places), thinking about the distant future, communicating with people who are dissimilar to us, and considering unlikely alternatives to reality.
  • It suggests that there are several simple steps we can all take to increase creativity, such as traveling to faraway places (or even just thinking about such places), thinking about the distant future, communicating with people who are dissimilar to us, and considering unlikely alternatives to reality.
  • It suggests that there are several simple steps we can all take to increase creativity, such as traveling to faraway places (or even just thinking about such places), thinking about the distant future, communicating with people who are dissimilar to us, and considering unlikely alternatives to reality.
  • http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html

Ways of Seeing: Instructions For Lost Ways of Seeing: Instructions For Lost Presentation Transcript

  • Ways of Seeing Instructions for Getting Lost August 07 2009 / The Feast Workshops
  • FRAME A perspective or viewpoint
  • “Primary frameworks allow its user to locate, perceive, identify, and label a seemingly infinite number of concrete occurrences.” ERVING GOFFMAN / FRAMEWORK ANALYSIS (1972)
  • discover define design develop deploy
  • beginning middle end
  • ready aim fire
  • the creative process a model of The creative process is classically described (Wallas, 1926) as Sometimes the goal is not clear. Participants don’t always agree preparation incubation illumination verification on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation Businesses often describe the process as of the essential question. research development execution of frames + metaphors drawing on a repertoire with experience + values through conversations Agreeing on goals may require iteration—may involve which must then be shared with other people. And it frames the situation—or selects a metaphor to explain it— It considers experience and values. Reflection begins as a conversation with oneself. These models suggest a tidy, linear structure a feedback loop. Several levels of loops may be nested: beginning middle end - a listing of assumptions and a first approximation of a solution - a primary process for refining the solution Simple sequences sound manageable, even predictable. - a process for agreeing on the goal of the primary process They promise tasks we can schedule and budget. That makes - a process for improving the process of agreeing on the goal them appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists This “boot-strapping” process (Engelbart, 1962) is a sign of planning; it’s not a recipe, script, or formula. (How could it be?) learning systems and organizations (Argyis + Schön, 1978). In practice, the process is messy, iterative, and recursive. The creative process is not just iterative; it’s also recursive. Framed as a sequence, it’s a plan for achieving a goal It plays out “in the large” and “in the small”—in defining the ready aim fire broadest goals and concepts and refining the smallest details. It branches like a tree, and each choice has ramifications, Yet a first shot doesn’t always hit the target. Achieving a goal which may not be known in advance. Recursion also suggests may require a few tries; it may require iteration. Iteration is a a procedure that “calls” or includes itself. Many engineers looping process, using feedback from earlier attempts to define the design process as a recursive function: converge on a goal. Iteration enables participants to calibrate, discover define design develop deploy correct mistakes, build on accidents, add and remove detail, and improve skills through practice. The creative process involves many conversations—about goals and actions to achieve them—conversations with The creative process is less like a line and more like a loop: co-creators and colleagues, conversations with oneself. observe reflect make observe reflect make . . . The participants and their language, experience, and values affect the conversations. The process need not begin with observing; it may begin with any step. Boundaries between the steps are not rigid. Conversations about wicked problems especially benefit from— Each activity continues throughout the process, e.g., and may require—a variety of views. Some of these views making also involves reflecting and observing. form a habit of engaging (or observing, reflecting, and making) observe reflect make observe reflect make often called “design thinking.” It might be thought of more observe reflect make observe reflect make accurately as a set of lenses on design conversations observe reflect make observe reflect make or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process: If the goal is clear—if we have agreed on how we define a - attention - understanding - searching problem, as in a math problem—then solutions may be implied. - openness - integration - envisioning And we know when to stop. If the goal is less clear, deciding when to stop requires judgment. The quality of the conversations is largely responsible for the outcome of the process. The quality of the resulting product But some problems are “wicked” (Rittel, 1969). Their definition reflects the quality of the creative process—and the curiosity depends on point of view; participants can always broaden and determination of the participants. or deepen their understanding and improve their solutions. to understand For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption). what people want how culture is evolving ex to integrate The res plora The goal Ge main is to bu nera tas tive k of ild a sh rese gene ar re ear tor by seeing patterns arch rativ ed un by building consensus gensearc inter e re derst ch y sects sear andin Explo refle ch is g of The rator reflect cting to co the de The main y re + mame up sired se era h At goal task arch kin with situa fir as st, the is to buof explo inter g. ide wo as. tion. explo rk curre ild a rator sects tive reac ratorprocee nt sit shar y re obse t to y re ds ua ed sear rvi newl sear and tion unde ch is ng + re y cr ch the pr may rstan to “m flecti bo eated may oces be ne ding ap ng. artifaalso inv s ite w; of the the ter in ch unda cts olv rates curre rain. or “d e ob , esign servi prob ng ho nt sit ” uatio de sight ma arac ries n. es.” w co nstitu ents cri finiti s + c ps ters + is ter ons on + m + su ia + + cep ode stor es goa hypo ts ls ies ls the ses implement illuminate incubate prepare iterate ve ser ake ss Some steps essential to the creative In the middle, the process as sequence Once an idea has been hatched and refined, ob nne process lie outside its core. may take a detour and iterate in a loop. it must still make its way into the world. Communicating the idea to others n Accepting responsibility for the task Many creative people have said and building consensus for adoption and preparing tend to be one-time, that their best ideas came (illumination) are part of the innovation process ntio upfront tasks. after putting aside a problem and m but may lie outside the core creative process. ope s letting it incubate. lture Passing on responsibility to others— rning + cu leaving a legacy— ss expla ining tte + lea le mind gy fulne imag is the final step in the larger process. ing er peop t + ener miniatures + wireframes ining the to e ith spec + wh future listen oth th re ssion ha tak rking at it wo thumbnails + sketches m ing quick g wi ting pa fro w migh d ma to s adva ly nvi outlines + prototypes an t me king actin ibu nta + ite ts wit ” ry ns contr ge an it tio uen flow mo of ac ting ear sio ra cid tan rsa stit he me ents gib le . in t uscle ials ers. elf nve + cond e n oth ones ch es olv n with ly inv tio o ing m er ns ing ersa h c xt are nc reas conv it incs as a “be on mat atio es ntinu o begin oug nte sh rie it co As ing als ak thr ith co g on expe andawing ols + nvers M e. guag reflect. hy? d lan and ? W re an back here cultu step rtant n. w awin ge + n po rn the u ca t’s im ersatio st lea n yo ha nv r h to co d it mu lf; the ?) W s co unity se doing thi w rough dr gua ers. comm your e we to aiduser s oth rse ar rks t, ce with ents’ imme hat wo jec , servi tion nstitu you ? (W l frametion, ob ages lan sa co y ing ra ss nver the slowl y do seve erac , me e th a co rt of g in; e the ed nt, int nts pher s as not pa kin t ar velop onme onme atmos ha begin are de loo ? W ve de vir envir cts, tion who outsi here rs) ha ity, enjects, artifa serva ts the is ne activ ob s, Ob cipan e on ? Who desig rk: ople, tivitie Parti you’r e we (and mewo rk: pe s, ac First re ar hers IOU fra mewo actor Whe nograp AE S fra work: Eth son’sPOEM 4 frame Robin r’s Ax Kuma tein’s Roths The main task of evaluative research is to determine Evaluative research intersects making + observing. where prototypes fail to live up to expectations. evaluative The goal is to keep the process on course. research The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms. quality cycle self-regulating system scientific method clinical process design process interaction loop The creative process is startlingly similar to the quality Like a self-regulating system, the creative process is Forming a hypothesis is a special type of creative act. When physicians meet patients, they begin by taking The design process viewed as “problem solving” (Jones, 1976), Interaction (with computers or the wider world) answers three cycle (Shewart, 1939), popularized in business circles by a classic feedback loop. Measure an essential variable; Framing the creative process as “experimenting” shows a history and examining the patient; tests may be indicated, “problem seeking” (Peña, 1987) or “turning existing situations into questions: What do you sense? (feel?) How do you learn + plan? the quality management movement (Deming, 1982). compare it to a goal; and act to eliminate any difference. the close tie it has with the domain of science. which contribute to a diagnosis, which indicates therapy. preferred” (Simon, 1969) is a variation on the creative process. (know?) How do you change things? (do?) (Verplank, 2000). hypothesis synthesize diagnose compare know? plan on nt ck re ati e e min lyz me asu te at lua l? fee act che do? erv ana do exa eri tre me obs exp eva Copyright © 2009 Dubberly Design Office Institute for the Creative Process Dubberly Design Office prepared this concept map as a project the nature of the creative process and design thinking. ACAD is Design and writing by Hugh Dubberly and Shelley Evenson Printed in Canada 2501 Harrison Street, #7 at the Alberta College of Art+Design of the Institute for the Creative Process at the Alberta College of a leading centre for education and research, and a catalyst for Research by ACAD faculty Vera Gartley, Wayne Giles, San Francisco, CA 94110 1407-14 Ave NW Art+Design. The Institute exists to focus and organize activities, creative inquiry and cultural development. Walter May, and Justin Waddell 415 648 9799 Calgary, AB Canada enterprises, and initiatives of ACAD with regard to the cultivation Creative direction by Jack Chung, Robin Bahr, and Paul Pangaro T2N 4R3 of dialogue, research, and special projects that directly address Please send comments about this model to icp@acad.ca. 403 284 7670 the creative process HUGH DUBBERLY, COLLABORATION WITH JACK CHUNG, SHELLEY EVENSON, PAUL PANGARO
  • es beyond the immediate focus of the conversation or process: If the goal is clear—if we have agreed on how we define a - attention - understanding - searching problem, as in a math problem—then solutions may be implied. - openness - integration - envisioning And we know when to stop. If the goal is less clear, deciding when to stop requires judgment. The quality of the conversations is largely responsible for the outcome of the process. The quality of the resulting product But some problems are “wicked” (Rittel, 1969). Their definition reflects the quality of the creative process—and the curiosity depends on point of view; participants can always broaden and determination of the participants. or deepen their understanding and improve their solutions. to understand For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, theplcreative process money, or patience” (energy, will, or gumption). a model of what people want how culture is evolving ex to integrate The The goal Ge main is to b r o The creative process is classically described (Wallas, 1926) as Sometimes the goal is not clear. Participants don’t always agree ese rat preparation incubation illumination verification on how to define the problem. Such cases require a new frame, ner Businesses often describe the process as a new generative metaphor (Schön, 1990), or a new articulation of the essential question. ativ task uild a research development execution e re of g sha re of frames + metaphors drawing on a repertoire with experience + values through conversations Agreeing on goals may require iteration—may involve by seeing patterns which must then be shared with other people. And it frames the situation—or selects a metaphor to explain it— It considers experience and values. Reflection begins as a conversation with oneself. These models suggest a tidy, linear structure a feedback loop. Several levels of loops may be nested: sea ene red arc ory beginning middle end - a listing of assumptions and a first approximation of a solution rch rativ und by building consensus gensearc - a primary process for refining the solution Simple sequences sound manageable, even predictable. - a process for agreeing on the goal of the primary process inte e re ers They promise tasks we can schedule and budget. That makes - a process for improving the process of agreeing on the goal them appealing to people who run organizations and worry about rse sea tand Exp minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978). cts rch ing The lorato h refl is reflect In practice, the process is messy, iterative, and recursive. The creative process is not just iterative; it’s also recursive. ecti to c of the The main ry re Framed as a sequence, it’s a plan for achieving a goal It plays out “in the large” and “in the small”—in defining the ready aim fire broadest goals and concepts and refining the smallest details. ng ome des s era h It branches like a tree, and each choice has ramifications, +m At goal task earc ir Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a which may not be known in advance. Recursion also suggests a procedure that “calls” or includes itself. Many engineers akin up wit ed sit fi as rst, th is to b of exp h inte looping process, using feedback from earlier attempts to define the design process as a recursive function: converge on a goal. Iteration enables participants to calibrate, discover define design develop deploy g. h id uati exp work e cu uild a lorato rsects correct mistakes, build on accidents, add and remove detail, eas on. and improve skills through practice. The creative process involves many conversations—about goals and actions to achieve them—conversations with . rea lora proc rren sh ry ob The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . . ct to tory eeds t situ ared resea servin The process need not begin with observing; it may begin co-creators and colleagues, conversations with oneself. The participants and their language, experience, and values affect the conversations. tive new resea and ation unde rch is g + r with any step. Boundaries between the steps are not rigid. Conversations about wicked problems especially benefit from— Each activity continues throughout the process, e.g., and may require—a variety of views. Some of these views ly c rch the may rstan to “ eflec making also involves reflecting and observing. form a habit of engaging (or observing, reflecting, and making) bo observe reflect make observe reflect make often called “design thinking.” It might be thought of more rea ma pro b d observe reflect make observe reflect make m ti accurately as a set of lenses on design conversations ted y als ces e new ing o ap th ng. observe reflect make observe reflect make or creative conversations. These lenses provide perspective arti o in s ite ; f th e c e terr If the goal is clear—if we have agreed on how we define a beyond the immediate focus of the conversation or process: - attention - understanding - searching ins cha unda problem, as in a math problem—then solutions may be implied. - openness - integration - envisioning fac r ts o volve ates, And we know when to stop. If the goal is less clear, deciding when to stop requires judgment. urr ain The quality of the conversations is largely responsible for ent .” the outcome of the process. The quality of the resulting product r “d obs But some problems are “wicked” (Rittel, 1969). Their definition esig erv n p ing h situ depends on point of view; participants can always broaden atio or deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and n. external to the process. It ends only when we “run out of time, rob ow reflects the quality of the creative process—and the curiosity and determination of the participants. to understand def ights ma rac ries money, or patience” (energy, will, or gumption). es.” co nsti what people want exp res lora tue nts how culture is evolving to integrate The The goal Ge main is to bu cri initi + c ps ters + is nera tas tive k of ild a sh rese gene ar re ear tor by seeing patterns arch rativ ed un by building consensus gensearc inter e re derst ter ons on ch y sects sear andin Explo refle ch is g of The rator reflect cting to co the de The main y re + mame up sired + m + su se era h At goal task arch kin with situa fir as st, the is to buof explo inter g. ide as. tion. wo explo rk t to y re ds curre ild a rator sects reac ratorprocee nt sit shar y re obse ua ed sear rvi newl sear and tion unde ch is ng + re y cr ch the pr may rstan to “m flecti bo tive ia + + cep ode stor es eated may oces be ne ding ap ng. artifaalso inv s ite w; of the the ter in ch unda cts olv rates curre rain. or “d e ob , nt sit ” de sight esign servi prob ng ho es.” w co nstitu ents uatio n. ma arac ries ps ters + is cri finiti s + c goa hypo ts ls ies ter ons on + m + su ia + + cep ode stor es goa hypo ts ls the ls ies ls the ses ses implement illuminate incubate prepare iterate ve ser implement ake illuminate ss incubate Some steps essential to the creative In the middle, the process as sequence Once an idea has been hatched and refined, ob nne process lie outside its core. may take a detour and iterate in a loop. it must still make its way into the world. prepare Communicating the idea to others n Accepting responsibility for the task Many creative people have said and building consensus for adoption iterate and preparing tend to be one-time, that their best ideas came (illumination) are part of the innovation process ntio upfront tasks. after putting aside a problem and m but may lie outside the core creative process. ope s letting it incubate. lture Passing on responsibility to others— rning + cu leaving a legacy— ss expla ining tte + lea le mind gy fulne imag is the final step in the larger process. ing er peop t + ener miniatures + wireframes ining the to e ith spec + wh future listen oth th re ssion ha tak rking ve at it wo thumbnails + sketches m ing quick g wi ting pa fro w migh d ma to s adva ly nvi outlines + prototypes an t me king actin ibu nta + ite ts wit ” ry ns contr ge an it tio uen flow mo of ac ting ear sio ra cid tan rsa stit he me ents gib le . in t uscle ials ers. elf nve + cond e n oth ones ch es olv n with er ly inv tio o ing m er ns ing ersa h c xt are nc reas conv it incs as a “be on mat atio es ntinu o begin oug nte sh rie it co As ing als ak thr ith co g on expe andawing ols + nvers M e. guag reflect. hy? w awin ge + dr gua oth st lea n yo ha nv n mu lf; the ?) W s co unity se doing thi ers. comm your e we to aiduser s d lan and ? W re an back here cultu step rtant n. ce po rn the u ca t’s im ersatio r h to co d it w rough ke bs rse ar rks t, with ents’ imme hat wo jec , servi s tion nstitu you ? (W l frametion, ob ages lan sa co y ing ra ss nver the slowl y do seve erac , me e th a co rt of g in; e the ed nt, int nts pher s as not pa kin t ar velop onme onme atmos ha begin are de loo ? W ve de vir envir cts, nes tion who outsi here rs) ha ity, enjects, artifa Some steps essential to the creative serva ts the is ne activ ob Ob cipan e on ? Who desig rk: ople, tivitie Parti you’r e we (and mewo rk: pe s, ac s, In the middle, the process as sequence Once an idea has been hatched and refined, process lie outside its core. First re ar hers IOU fra mewo actor Whe nograp AE S fra work: Eth son’sPOEM 4 frame Robin r’s Kuma tein’s Roths Ax may take a detour and iterate in a loop. a it must still make its way into the world. Communicating the idea to others n o Accepting responsibility for the task Many creative people have said and building consensus for adoption n and preparing tend to be one-time, that their best ideas came (illumination) are part of the innovation process ntio m The main task of evaluative research is to determine Evaluative research intersects making + observing. upfront tasks. after putting aside a problem and but may lie outside the core creative process. where prototypes fail to live up to expectations. ope evaluative The goal is to keep the process on course. es letting it incubate. research ltur Passing on responsibility to others— rnin cu leaving a legacy— s lea ple + exp ginin e s min ergy lne im g is the final step in the larger process. lain g th a miniatures + wireframes o dfu nin er pe att t n The creative process plays an important role in the arts, h ing e fu pec + e design, science, and the professions (medicine, engineering, oe law, and business). It has many analogues and synonyms. wh ture g+ liste oth res ssion t+ tak rking wit at it wo quality cycle self-regulating system scientific method clinical process design process interaction loop thumbnails + sketches m ing quic wit pa fro The creative process is startlingly similar to the quality Like a self-regulating system, the creative process is Forming a hypothesis is a special type of creative act. When physicians meet patients, they begin by taking The design process viewed as “problem solving” (Jones, 1976), Interaction (with computers or the wider world) answers three mig nd m cycle (Shewart, 1939), popularized in business circles by a classic feedback loop. Measure an essential variable; Framing the creative process as “experimenting” shows a history and examining the patient; tests may be indicated, “problem seeking” (Peña, 1987) or “turning existing situations into questions: What do you sense? (feel?) How do you learn + plan? to s adv k ith ng ting the quality management movement (Deming, 1982). compare it to a goal; and act to eliminate any difference. the close tie it has with the domain of science. which contribute to a diagnosis, which indicates therapy. preferred” (Simon, 1969) is a variation on the creative process. (know?) How do you change things? (do?) (Verplank, 2000). hypothesis synthesize ht m akin nv diagnose outlines + prototypes h compare a anta ly + it acti tribu know? plan ts ” ry s ean g it ge erati con ion ituen w low emo of a ng on nt ck re ati e e lyz isio min me asu te at lua l? fee act che do? erv ana do exa eri tre me e ccid obs exp eva at f tan ents arc gib ers const Copyright © 2009 Dubberly Design Office Institute for the Creative Process Dubberly Design Office prepared this concept map as a project the nature of the creative process and design thinking. ACAD is Design and writing by Hugh Dubberly and Shelley Evenson the cle m ls le “The creative process Printed in Canada 2501 Harrison Street, #7 at the Alberta College of Art+Design of the Institute for the Creative Process at the Alberta College of a leading centre for education and research, and a catalyst for Research by ACAD faculty Vera Gartley, Wayne Giles, San Francisco, CA 94110 1407-14 Ave NW Art+Design. The Institute exists to focus and organize activities, creative inquiry and cultural development. Walter May, and Justin Waddell . . 415 648 9799 Calgary, AB Canada enterprises, and initiatives of ACAD with regard to the cultivation Creative direction by Jack Chung, Robin Bahr, and Paul Pangaro ers self n T2N 4R3 of dialogue, research, and special projects that directly address Please send comments about this model to icp@acad.ca. 403 284 7670 oth h one v es in olv wit con xt + red nce inv on h ing mus teria ns cre co it in s as a gly ersati asin nv h es a “be g on + ma satio tinu egin ougconte n sh perie it con also b the creative process As king Ma r ge. t. gua flec y? andawin ols nver th ith g o ex is less like a line and lan nd re ? Wh nd a ere e a ck ltur p ba tant h cu te or w awin ge + p tion. st le n y the an s arn ou c at’s imversa mu ; the ?) W is co h n dr ith to h co nity rself doing aid th dr gua . u ers comm e you e we s to user es w roug oth s r k ith nts’ mer hat a ewor bject, servic n w tue im m , o ges, lan atio nsti you g? (W l fra on ers e co wly doin vera racti essa v con rt of th in; slo they ed se t, inte nts, m here th more like a loop.” WITH JACK CHUNG, SHELLEY EVENSON, PAUL PANGARO a as pa king t are elop nmen nme osp ins not o ha ev o iro atm beg are ide lo ? W ve d nvir env cts, tion ho uts ere ) ha vity, e jects, artifa rva ts w e o is h ers ti b , bse cipan on th Who esign rk: ac ple, o vities O ti r ou’re we? nd d ewo : peo , acti Pa t y re HUGH DUBBERLY, COLLABORATION (a am rk Firs ere a phers IOU fr mewo k: acto Wh nogra ’s AE S fra ewor Eth inson POEM 4 fram b r’s rs Ro a x ’s A Kum stein —DUBBERLY ET AL. Roth arch is to determine aking + observing. expectations. ve n course.
  • FRAME A perspective or viewpoint
  • “Recognition is perception arrested before it has a chance to develop freely.” JOHN DEWEY / ART AS EXPERIENCE (1947)
  • Types of instructions 1. Gaining Distance (psychological distance) 2. Ways of Seeing (paying attention) 3. Re-framing (design activity)
  • 1. Gaining Distance
  • CONSTRUAL LEVEL THEORY (CLT) OF PSYCHOLOGICAL DISTANCE Anything that we do not experience as occurring now, here, and to ourselves is “psychologically distant”
  • food product concrete source of energy, fast growing plant, abstract source of ethanol, mazes for children corn fuel
  • 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere)
  • 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere) 2. Thinking about future: projecting events (projecting yourself working on it tomorrow or next year)
  • 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere) 2. Thinking about future: projecting events (projecting yourself working on it tomorrow or next year) 3. Considering alternatives: projecting visually (imagine yourself in noisy or better environments)
  • 2. Ways of Seeing
  • Methods for listening/seeing Downloading “Yeah, I already know that”
  • Methods for listening/seeing Downloading “Yeah, I already know that” Factual “Look at that!”
  • Methods for listening/seeing Downloading “Yeah, I already know that” Factual “Look at that!” Empathetic “I know how you feel”
  • Methods for listening/seeing Downloading “Yeah, I already know that” Factual “Look at that!” Empathetic “I know how you feel” Generative “I’m connected to something larger”
  • Methods for listening/seeing Downloading “Yeah, I already know that” Factual “Look at that!” Empathetic “I know how you feel” Generative “I’m connected to something larger”
  • 3. Reframing
  • I see something, I know something Insight, Design Patterns = Design Idea JON KOLKO / INTERACTION 09 CONFERENCE (2009)
  • REFRAMING Shifting perspective to see things in a new way
  • REFRAMING Shifting perspective to see things in a new way
  • Get Lost (20 min) 1. Create matrix 2. Free associate 3. Fill in goals and implications 4. Present insights Thanks @Yoshitaka Tokusho
  • INSIGHTS
  • Benjamin Zander on music and passion TED Conferences LLC, Creative Commons (CC) Filmed 2008
  • Types of instructions 1. Gaining Distance (psychological distance) 2. Ways of Seeing (paying attention) 3. Re-framing (design activity)
  • Thanks. @bobulate / www.bobulate.com/feast-slides.pdf