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Takashi Iba's Talk "Pattern Language 3.0: Writing Pattern Languages for Human Actions" at 19th International Conference on Pattern Languages of Programs (PLoP2012), Tucson Arizona, USA, Oct, 2012. …

Takashi Iba's Talk "Pattern Language 3.0: Writing Pattern Languages for Human Actions" at 19th International Conference on Pattern Languages of Programs (PLoP2012), Tucson Arizona, USA, Oct, 2012. Unabbreviated Edition.

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  • 1. Pattern Language 3.0Writing Pattern Languages for Human ActionsTakashi IbaFaculty of Policy ManagementKeio Universityhttp://twitter.com/taka_ibahttp://creativesystemslab.blogspot.jp/Invited Talk at PLoP2012 (Oct. 19,2012)
  • 2. Potential Domains of Pattern Languages What are potential domains wherePattern Language can be applied to?
  • 3. Potential ity of Pattern WritersWhat are the potentiality of people who can write pattern languages?
  • 4. Pattern Languages Potential ly Save the world What are significant applications ofpattern languages for people on earth?
  • 5. 井庭 崇
  • 6. Takashi Iba井庭 崇
  • 7. Takashi Iba 井庭 崇• born in 1974 in Japan• a trans-disciplinary researcher, creator, and writer, explores the nature of creativity and works to build media to nurture it.• an associate professor at the Faculty of Policy Management, Keio University, Japan• Ph.D. in Media and Governance, from Keio University in 2003.• a visiting scholar at the MIT Center for Collective Intelligence, 2009-2010
  • 8. “Force = Why the problem is hard.” (Bootcamp) May the force be with you.
  • 9. 13
  • 10. 14
  • 11. 15
  • 12. 16
  • 13. 17
  • 14. abstraction
  • 15. imagination
  • 16. communication
  • 17. abstraction imaginationcommunication
  • 18. systems theory modeling &pattern languages
  • 19. Takashi Iba, Yoshihisa Fukuhara,Introduction to Complex Systems:The Adventure to the Frontier ofKnowledge, NTT Publishers,in Japanese, 1998National best seller, twenty thousand copies!
  • 20. Takashi Iba, "A Study on Simulating Economiesand Societies as Evolutionary Complex Systems," Ph.D Thesis for Graduate School of Media and Governance, Keio University, 2003
  • 21. PlatBox Simulator, a software platform to execute andto analyze the agent-based social simulations.Component Builder, a tool for designing the modelcomponent plugged into PlatBox Simulator.
  • 22. Model-Driven Development of Agent-Based Social Simulations Model-Driven Development Conceptual Model Simulation Model Component Builder Source Code of Simulation Java Compiler Executable Program of Simulation
  • 23. PlatBox Model Framework
  • 24. Modeling withUML diagram +Action Parts
  • 25. Action Parts We define 281 action parts. All actions in social simulation can be described with combining these parts.Memorize/Recall Increase the value of DoubleInformation the Agent hasChange the status of the Agent Reduce the value of DoubleInformation the Agent hasAcquire the status of the Agent Update the value of DoubleInformation the Agent hasRecieve Goods and Information Increase the value of IntegerInformation the Agent hasAcquire the status of other Agent Reduce the value of IntegerInformation the Agent hasAcquire the world status Change the value of IntegerInformation the Agent hasSend Goods and InformationChange the status of other Agent テキスト Check the current status of this Behavior Specify the Type of this BehaviorChange the world status Delete Information the Agent memorizedAcquire the details of Information Assign all memorized Information of the Agent to a MapAcquire the detals of Goods Make the Agent Recall InformationAcquire Set Make the Agent Memorize InformationAcquire the details of Relation Acquire all specified Types of Goods from the AgentCreate new Information Acquire specified quantity of Goods from the AgentCreate new Goods Acquire specified Parent-Type of Goods from the Agent and Assign them to a SetCreate new Set Acquire specified Parent-Type and quantity of Goods from the Agent and Assign them to a SetEdit Information Connect one way Relation between the Agent and othersChange the status of Goods Connect mutual Relation between the Agent and othersControl Set Disconnect mutual Relation between the Agent and othersCalculate Disconnect one way Relation of the AgentOutput Disconnect all specified Types of Relations of the AgentTerminate the Agent Disconnect a specified Parent-Type of Relations of the AgentAdd Behavior to the Agent Close active ChannelDelete Behavior of the Agent Specify the AgentObtain Goods Specify the Type of the Agent....... Check whether the Agent has the specified Type of Goods .........
  • 26. Model-Driven Development of Agent-Based Social Simulations Model-Driven Development Conceptual Model Simulation Model Component Builder Source Code of Simulation Java Compiler Executable Program of Simulation
  • 27. Model PatternsA Pattern Language for Agent-Based Social Modeling コミュニケーションのモデル・パターン Immediate Reply 【 QuestionBehavior 】 ■ 目的 他のエージェントに質問し 、直ちに返答を受ける。 AbstractBehavior ( from org.boxed_economy.besp.model.fmfw.behavior ) ■ 動機 Question Reply AbstractQuestionBehavior Behavior Behavior 他のエージェントの属性等について知りたい場合 Questioner Respondent に、質問をして問い合わせることがある。 ToRespondent QuestionBehavior questionAction ( ) readReplyAction ( ) QuestionInformation isReply ( ) ■ 基本動作 Questioner エージェントと Respondent エージェ Question Behavior Reply Behavior ントが登場する。 Questioner エージェントは、 Ques- Questioner Respondent 【 ReplyBehavior 】 tionBehavior をもっており、 これによって Question- Information を生成し (ここでは内容は空とする) 、 AbstractBehavior ( from org.boxed_economy.besp.model.fmfw.behavior ) ReplyInformation Respondent エージェントに送信する。Respondent エージェントは 、ReplyBehavior でそれを受けて、 Question Reply AbstractReplyBehavior 直ちに ReplyInformation を送り返す (ここでは文 Behavior Behavior Questioner Respondent 字列の内容をもつとする)。 ReplyBehavior replyAction ( ) isQuestion ( ) ■ 設計 【全体像】 【 QustionInformation 】 : ImmediateReplyWorld : ImmediateReplyModel << interface >> Imformation ( from org.boxed_economy.besp.model.fmfw ) : Agent AGENTTYPE_Questioner : AgentType : QuestionBehavior BEHAVIORTYPE_Question : BehaviorType QuestionInformation : QuestionInformation INFORMATIONTYPE_Question : InformationType 【 ReplyInformation 】 : Relation RELATIONTYPE_ToRespondent << interface >> Imformation ( from org.boxed_economy.besp.model.fmfw ) : Agent AGENTTYPE_Respondent : AgentType : ReplyBehavior BEHAVIORTYPE_Reply : BehaviorType ReplyInformation contents: Srting : ReplyInformation INFORMATIONTYPE_Question : InformationType setContents ( String ) getContents ( ) : String ReplyInformation ( String ) 260
  • 28. Takashi Iba, "A Study on Simulating Economiesand Societies as Evolutionary Complex Systems," Ph.D Thesis for Graduate School of Media and Governance, Keio University, 2003
  • 29. Realized the limitations...
  • 30. Something is missing...
  • 31. life
  • 32. lifegenerativity
  • 33. social systems theory(autopoietic systems)by Niklas Luhmann
  • 34. Facilitation Patternsfor experiential learning 初心者への心がけ 初心者への心がけ みんなの場 みんなの場 ■   ■   状況 状況 ■   ■   状況 状況 体験学習プログラムの参加者の中には,今まで体験学 体験学習プログラムの参加者の中には,今まで体験学 多くの人達で協力して何かの活動をする際,誰もが気 多くの人達で協力して何かの活動をする際,誰もが気 習やワークショ ップなどに参加した経験が無い人がいる 習やワークショ ップなどに参加した経験が無い人がいる 持ち良く参加したいと思うものである.しかしながら, 持ち良く参加したいと思うものである.しかしながら, こともあるだろう.そのような人は,入りやすい受付 こともあるだろう.そのような人は,入りやすい受付 人数が増えることでやりにくくなったり,グループ内の 人数が増えることでやりにくくなったり,グループ内の (19) によってある程度リラックスさせることができる (19) によってある程度リラックスさせることができる メンバーによって活発的な雰囲気が失われてしまうこと メンバーによって活発的な雰囲気が失われてしまうこと が, が, どのように参加をしていけばいいか分からず不安に どのように参加をしていけばいいか分からず不安に がある.がある. 思っていることが多い. 思っていることが多い. *   * **   *    * *   * **   *    * ■   ■   問題 問題 ■   ■   問題 問題 主体的に参加できる場づくりをするためにはどうすれ 主体的に参加できる場づくりをするためにはどうすれ ワークショ ップ初心者に対しては,どのようなことに注 ワークショ ップ初心者に対しては,どのようなことに注 ば良いだろうか. ば良いだろうか. 意すれば良いだろうか. 意すれば良いだろうか. ■   ■   問題記述 問題記述 ■   ■   問題記述問題記述 メンバー同士の意見を共有することや,その意見に対 メンバー同士の意見を共有することや,その意見に対 体験学習のような主体的に参加が求められる学習に慣 体験学習のような主体的に参加が求められる学習に慣 して議論を交わす際に,特定の人だけが発言をしてそ して議論を交わす際に,特定の人だけが発言をしてそ れていない参加者に対しては,配慮をしたい.何故な れていない参加者に対しては,配慮をしたい.何故な の場を仕切ってし まうことがおこる.そうなると,少 の場を仕切ってし まうことがおこる.そうなると,少 ら,初心者の参加者にとっては,体験学習の運営方法や ら,初心者の参加者にとっては,体験学習の運営方法や 数派になった人の意見が正しく吟味されないばかりか, 数派になった人の意見が正しく吟味されないばかりか, 参加の仕方は新鮮に感じることが多く, どのように参加 参加の仕方は新鮮に感じることが多く,どのように参加 疎外されたことにより全く意見を出さなくなる傍観者 疎外されたことにより全く意見を出さなくなる傍観者 したら良いか解らず戸惑いやすい.体験学習では,一連 したら良いか解らず戸惑いやすい.体験学習では,一連 になりやすい.学習の効果を引き出すためにも,参加者 になりやすい.学習の効果を引き出すためにも,参加者 のプログラムに対等な関係で参加することが,参加者 のプログラムに対等な関係で参加することが,参加者 一人一人がチームに貢献する必要がある—–責任の明確 一人一人がチームに貢献する必要がある—–責任の明確 同士の気づきを増やすために必要である.したがって, 同士の気づきを増やすために必要である.したがって, 化 (27).そのためには,自由に発言ができるような環 化 (27).そのためには,自由に発言ができるような環 初心者に対する事前のフォローが重要になる. 初心者に対する事前のフォローが重要になる. 境をつくる必要がある. 境をつくる必要がある. ■   ■   解決方法解決方法 ■   ■   解決方法解決方法 初心者に対しては,ファシリテーターからどのように参 初心者に対しては,ファシリテーターからどのように参 メンバーが対等な関係で議論ができる環境をつくろう. メンバーが対等な関係で議論ができる環境をつくろう. 加してほしいのかを伝えることや,参加における心得を 加してほしいのかを伝えることや,参加における心得を 示そう.示そう. ■   ■   具体例具体例 例えば,身分や役職,性別,年齢による権威行使を排除 例えば,身分や役職,性別,年齢による権威行使を排除 ■   ■   具体例具体例 すること.また,ファシリテーターがどんな意見でも推 すること.また,ファシリテーターがどんな意見でも推 参加における心得の内容としては, 「『積極的に参加して 参加における心得の内容としては, 「『積極的に参加して 奨するように働きかけを行うことや,どんな意見であっ 奨するように働きかけを行うことや,どんな意見であっ ください』体験学習ではみなさんが主役です. 「 」や, ください』体験学習ではみなさんが主役です. 「 」や, 『楽 『楽 てもフィリップチャートにまとめで張り出すこと —–可 —–可 てもフィリップチャートにまとめで張り出すこと しんでください』私がそそのかし役となって,皆さんに しんでください』私がそそのかし役となって,皆さんに 視化された意見 (43) をおこなうと意見を視覚的にも対 視化された意見 (43) をおこなうと意見を視覚的にも対 いろんな体験をしてもらいますが,まずは楽しんでくだ いろんな体験をしてもらいますが,まずは楽しんでくだ 等に扱っていることがわかるので,自由な発言がうまれ 等に扱っていることがわかるので,自由な発言がうまれ 」などが上げられるだろう 17) . 17) . さい.さい. 」などが上げられるだろう て対等な議論が進みやすくなる. て対等な議論が進みやすくなる. *   * **   *    * *   * **   *    * ■   ■   関連 関連 ■   ■   関連 関連Takahiro Shimizu ファシリテーションにおける重要な点の一つに,メン ファシリテーションにおける重要な点の一つに,メン 平等に参加してもらうためにも,初心者への心がけ (21) (21) 平等に参加してもらうためにも,初心者への心がけ バー同士が対等に活動したり議論したりする場をつく バー同士が対等に活動したり議論したりする場をつく を忘れないようにしよう.また,質問タイム (41) を設 を設 を忘れないようにしよう.また,質問タイム (41) ることがある—-みんなの場 (31).(31). ることがある—-みんなの場& Takashi Iba けることで,誰もが同じ スタートラインに立てるよう けることで,誰もが同じ スタートラインに立てるよう に個別の疑問点を解消させよう.さらに,発言が少ない に個別の疑問点を解消させよう.さらに,発言が少ない 図3 初心者への心がけパターン 図 3 初心者への心がけパターン 人に対しては,問いかけを行うことも有効である—–議 —–議 人に対しては,問いかけを行うことも有効である 論を促す問いかけ (32).さらに,意思決定における公 論を促す問いかけ (32).さらに,意思決定における公 26) 渡辺武: 新しい会議の知恵:みんなで育てる話し 26) 渡辺武: 新しい会議の知恵:みんなで育てる話し 平性 (30) も保たれる必要がある.最後に,メンバーが 平性 (30) も保たれる必要がある.最後に,メンバーが
  • 35. at Allerton House, PLoP 2007
  • 36. Outside of Work Relationship Communication 5. [1] KProject Patterns Thank You Spirit Positive Chain Deep Dive Deep Dialog Y P Pattern No.19 Naming 2 Context There are so many ideas and concepts. It is get- [2] T(PLoP2008) 3. EXAMPLES OF PROJECT PATTERNS Since it is difficult to show all of the forty seven patterns, Problem Characteristics of an discuss the complex blurry. Re- ting difficult toidea or final output is topics. People under- peating the sentence takes an extra but with adjectives to “round stand the world by naming, time and difficult like, a P only two out of forty seven patterns will be introduced here. One is “Outside of Work”, which is likely to be used at focus on andissue. object”bothers the fluenciesobject. You need some an hard It also cannot specify one of conversa- J tion. idea to make communication comfortable. [3] Y early stage, and another is “Naming”, which is useful for the middle stage. Force E P • Available time is limited. J Pattern No.2 Outside of Work Context • It is easy to talk about the named thing. When the project is on the early stage and the team members do not know each other. It is almost impossible to understand Let’s call it “oasis” ! • People tend to forget easily. others in a second. Time must be spent to get to know who they really are. This is not especially limited to early stages of the • Having common language drives the communication. What was Juhn’s idea?? project. Solution 3. EXAMPLES OF PROJECT PATTERNS Problem Name it. By naming a new idea or an object, it becomes Since it is difficult to show all of the forty seven patterns, Characteristics of an idea or final output is blurry. Re- easier to talk about. It also clarifies the characteristics of peating the sentence takes an extra time and difficult to only two out of forty seven patterns will be introduced here. idea and make it easy to compare with other ideas. the One is “Outside of Work”, which is likely to be used atResolutionon an issue. It also bothers the fluencies of conversa- focus tion. early stage, and another is “Naming”, which is useful forCommon language makes the conversation smooth. the middle stage. Notes Force “Let’s talk about John’s time is limited. • Available idea.” Pattern No.2 Outside of Work Problem “What’ s John’s idea?” Members are not able to understand each other’s thoughts and Context feelings yet. Wethe projectbuild and early stage and theunder- members “The idea of aIt is easy to talk about the named thing. • new pattern about projects.” When have not is on the maintained trust, team standing, camaraderieeach empathy, in a team. impossible to understand do not know and other. It is almost “Ok, then let’s name his idea, ‘Oasis’ from now on!” • People tend to forget easily. Force others in a second. Time must be spent to get to know who they the names of the patterns in Project Patterns are good All examples of naming. • Work is not the easiest place to build limited to early stages of the really are. This is not especially the trusting relation- • Having common language drives the communication. project. ships. Related Patterns • People have different cultures and perspectives. Solution • Trust and empathy is needed in a team to result issues and Name it. By naming a new idea or an object, it becomes Naming motivate collaboration. easier to talk about. It also clarifies the characteristics of Think Again Creative Thinking • Team member’s time is valuable. the idea and make it easy to compare with other ideas. Solution Resolution Leave Record Reflective Meeting Scale Conversion Body Storming By inviting members to parties and spending time together Common language makes the conversation smooth. Creative Workplace Exciting Contacts outside of work, it becomes easier to understand their ideas and Notes personalities. That leads to active communication. Include many “Let’s talk about John’s idea.” different types of activities so that no one feels left out if they do Problem 4. ACKNOWLEDGMENTS “What’ s John’s idea?” not want to participate because of cultural differences.Miyuko Naruse Members are not able to understand each other’s thoughts andMany thanks to everyone who helped us to make and de- Resolution yet. We have not build and maintained trust, under- feelings “The idea of a new pattern about projects.” The team has been motivated and increasedin a team. commu- velop the“Ok, then let’swould like to thank to Antonio Rito patterns. We name his idea, ‘Oasis’ from now on!” standing, camaraderie and empathy, trust andYusuke Takada nication. Force Notes • Work is not the easiest place to build the trusting Silva for All theour “shepherd” and providing many useful are good being names of the patterns in Project Patterns suggestions. We also naming. Start with going to dinner after work. Eating together relaxes relation- examples of would like to thank to those who at- tended the Relatedworkshop of the Pattern Languages of writers’ PatternsYohei Yumura people, which ships. will support them to be open and honest. Related •Patterns People have different cultures and perspectives. Programs (PLoP) conferences for giving fuiltful comments and advise.Koji Wakamatsu • Trust and empathy is needed in a team to result issues and motivate collaboration. Outside of Work Naming 5. REFERENCES& Takashi Iba Think Again Creative Thinking Relationship Communication • Team member’s time is valuable. Solution Thank You Spirit Positive Chain [1] Deep Dive Kanafumi Furuichi and Koji Wakamatsu and Yohei Leave Record Reflective Meeting Scale Conversion Body Storming(PLoP2008) Yumura and Takashi Iba. A Pattern Language in Deep Dialog By inviting members to parties and spending time together Creative Workplace Exciting Contacts outside of work, it becomes easier to understand their ideas and Project Management, IPSJ SIG Technical Reports, Pattern No.19That leads to active communication. Include many personalities. Naming 2007-MPS-64, in Japanese, 2007 Context There areof activities so that no one feels It is out if they [2] different types so many ideas and concepts. left get- do 4. ACKNOWLEDGMENTS Takashi Iba and Yohei Yumura and Koji Wakamatsu
  • 37. helps the students to work on their research activities. In order to evolve this pattern language, we want many people to use this pattern language, and get the feedbacks. Research Patterns 3. EXAMPLE PATTERNS This paper introduce 2 patterns of Research Patterns: “Hot Team” from Relationship category and “Clear Roadmap” from Motivation category. (PLoP2008) Hot Team Cont This pat for resea Prob You don t. The communication between the team members becomesmoother if this pattern language is shared. Once it becomes Clear Roadmap way. Forceto the common language, you will save extra discussion. You wan We hope that this pattern language for academic research You donhelps the students to work on their research activities. In It’s difficorder to evolve this pattern language, we want many people Big succto use this pattern language, and get the feedbacks. Solut3. EXAMPLE PATTERNS Context Compare This paper introduce 2 patterns of Research Patterns: This pattern is used when you are forming a new project a roadm“Hot Team” from Relationship category and “Clear Roadmap” team. what you rom Motivation category. Problem up with People don’t know each other and don’t feel committed to reach you Context Hot Team This pattern motivates people who have lost their passion the team. Forces Cons You kno for research. You want to build up people’s self esteem and self confi- Working Problem dence. makes yo You don’t feel any passion for research. You’ve lost your You want to create the ”social glue” for your new team. you refoc way. Available time is limited, so complex or long activities should confidenc Forces be avoided. Howev You want to improve self confidence. Funds of the team members are limited, as well. turn in y You don’t have much time for research. feedback It’s difficult for researchers to set a final goal of research. Solution like a ver Big success in research needs close strategies. Social bonding will help your team in their road to project time tha success. Make time available for extra-curricular activi- revise pla Solution ties such as bowling, fishing, eating (see also “Brown Bag Context Compare your present situation with your goals. Construct Lunch”), drinking, hiking or other adventures. This will 4. ACThis pattern is used when you are forming a new project a roadmap by back tracking from your goals. Ask yourself help your team members construct tighter relationships by We wateam. what you need to do to meet them. This way you will end providing more common ground, shared experiences and get- tunity to Problem up with a clearer view of you next actions and a plan to ting to know more aspects of their colleagues. is my “sPeople don’t know each other and don’t feel committed to reach your goals. Consequences in the Wthe team. Consequences You will create a “Community of Trust” where people sup- my pape Forces You know where to go, and when you need to be there. port each other. You spend more time together and share kindness Yuji KobayashiYou want to build up people’s self esteem and self confi-dence. Working on your end goals and goals needed to get there makes you revise and review your research. This will help experiences and feelings with your team mates. However, games and activities require extra time if they to impro Mariko YoshidaYou want to create the ”social glue” for your new team.Available time is limited, so complex or long activities should you refocus and provide you with fresh insights. Your self confidence will improve once you know the road ahead. are to be good ways to know each other. Money may also present a problem, as not all people in your team may have 5. RE [1] C. Al Ayaka Sasakibe avoided. However, you may aim too low or too high or make wrong generous budgets for extra-curricular activities. Watch out PressFunds of the team members are limited, as well. turn in your roadmap. Talk with other people to get their for other differences in your team, such as cultural diversity [2] C. Al feedback on your plan. Creating your roadmap may seem - for example, in some cultures drinking alcohol is barred. Solution Takashi Iba & Unive like a very short activity, but working on it may take more Competitive games and competitive activities may gener-Social bonding will help your team in their road to project time than you expect. Resist the temptation to constantly ate tensions in the team, so try to steer away from overly (PLoP2008)success. Make time available for extra-curricular activi-ties such as bowling, fishing, eating (see also “Brown Bag revise plans and never do any research! competitive games.Lunch”), drinking, hiking or other adventures. This will 4. ACKNOWLEDGMENTShelp your team members construct tighter relationships by We want to thank many people for giving me the oppor-
  • 38. Learning Patterns 21. Hidden Connections 20. A Bird’s- & Bug’s-Eye View 22. Frontier Finder 23. Creative Switch 19. Multi-Camera Shooting 24. Fruit Farming(PLoP2009, AsianPLoP2010) 18. Field Diving 17. Prototyping 25. Initial Draft Only Halfway 26. Attractive Expression 16. Thinking in Action 27. Acceleration to Next 15. Chain of Excitement! 2. Creative Project 28. Community of Learning 14. Triangle Scaling 29. Good Rivals 13. Tornade of Learning 30. Consequential Encounter 0. Design Your Learning 1. Making 3. Open-Process 12. Tangible Piles Opportunities Learning 11. Language Shower 31. Firm Determination 10. Embodied Skills 32. Talking Thinker 33. Learning by Teaching 9. Playful Learning 34. Obvious Reason 8. Foreign Language Every Day 35. Right Way 7. Output-Driven Learning 36. Brave Change 6. Effective Asking 37. Explorer’s Passion 5. Learning by Imitation 38. Slef-Producing 4. Jump In 39. Be Extreme! Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) 0 Design Your Learning 1 Making Opportunities 2 Creative Project No.21 No. 3 Open-Process LearningTakashi Iba 4 5 6 Jump In Learning by Imitation Effective Asking Hidden ConnectionsToko Miyake 7 Output-Driven Learning 8 Foreign Language Every Day 9 Playful Learning An unexpected connection is the very thing that is exciting. 10 Embodied Skills 0.80 11 Language ShowerMiyuko Naruse ver. 12 Tangible Piles You are studying something from typical points of view. 13 Tornado of Learning 14 Triangle Scaling 15 Chain of Excitement!Natsumi Yotsumoto 16 17 18 19 Thinking in Action Prototyping Field Diving Multi-Camera Shooting Unexpected discoveries hardly manifest themselves from a(PLoP2009) It looks good if it is what you are already accustomed to. 20 A Birds- & Bugs-Eye View 21 Hidden Connections 22 Frontier Finder you are applying a new point of view. 23 Creative Switch 24 Fruit Farming the whole due to a drastic increase of connections among them. 25 Initial Draft Only Halfway 26 Attractive Expression 27 Acceleration to NextTakashi Iba 28 Community of Learning Explore hidden connections among things to attain inspiration. 29 Good Rivals 30 Consequential Encounter Find hidden connections among different fields that share the same 31 Firm Determination terms.& Toko Miyake 32 Talking Thinker “Creativity involves breaking out of established patterns in order to look at 33 Learning by Teaching Think about how and why these things are connected. 34 Obvious Reason Make a new category for each connection. patterns 35 Right Way Consider other things that can be connected to the new category. 36 Brave Change A Pattern Language(AsianPLoP2010) 37 Explorers Passion — Andy Warhol 38 39 Self-Producing Be Extreme! Ver. 0.80 September, 2011 for Creative Learning Learning Patterns Project learningpatterns@sfc.keio.ac.jp
  • 39. Pedagogical Patterns forCreative Learning(PLoP2011) Generative Participant Moreover, learners become to deeply understand the value of collaboration with others, so to be willing to enjoy creative References Palincsar, A. S., dialogues. tion in reading co Encourage students in thinking, communicating, and chologist, 22 (3 & creating, *** as a participant in the activity rather than a teaching actor. For instance, C. Ichikawa participates into his class entitles “Future Funeral” at the Tokyo Community School based on 4. CONCLU Generative Participant. Since it is quite difficult for children In this paper, we to imagine their future concretely how and what they will be creative learning thirty years later, he first shows an example of chronology patterns are inte ? Wow ho w ! good ?? ! of his future. It includes many things such as good, bad, guage, which wi ! ide proud and shame things frankly, and he presented to them, The pattern lang disco a very and inspires the students to make their own chronology. In languages known the halfway of writing, he has students give a presentation sense. Connectin “Water Purifying” for discovering the invisible: When about their chronology to each other, and brush-up their and improve lan meeting with large earthquake, we have no water supply. chronology. In all phases, he tells his ideas, opinions and better education. To get drinkable water is truly authentic matter, stu- questions in order to assist to accelerate the flow of commu- dents desperately investigate to discover invisible mech- nication and reconsider their ideas. anism. You are about to facilitate creative learning in the classroom, 5. ACKNOW after you have designed the curriculum based on Discovery- We would like to Driven Expanding and the mission based on Challenging Mis- an opportunity t sion. Thanks to the accumulation of learning through Discovery- Ryusei Yoshida f Driven Expanding, the learners feel easy to say their ideas and also thank to ou approve other’s ideas. Also, thanks to the series of experi- shop participants ences through Challenging Mission, the learners are ready to cope with the difficulty of the mission. 6. REFERE [1] D. L. G. Anth 1996. In this context [2] Y. Anzai and doing. Psycho Communication for the collaboration doesn’t always 1979. go smoothly, and often stops and sometimes falls [3] J. Bergin. Fou into the situation where a very few members control Conference of the flow and others follow it. In such a situation, teach- [4] J. Dewey. De ers’ direct control of the flow often inhibits creative learning, (1916). and therefore learning through creation does not occur. This [5] P. F. Duckier problem has been discussed for a long time in the study of Our Changin collaborative learning such as Palincsar et al. (1987). The (1968). most important point of creative learning is successive emer- [6] T. Iba. An au gence of discoveries. So learners must continue to produce Procedia - So discoveries not by thinking but also by communication. 2(4):6610–662 [7] T. Iba and Le Therefore patterns: A p The Third In Innovation N “Create the Science-Fiction Story” for discovering how Consider you as a participant in the activity rather [8] C. Ichikawa. T to discover: Some constraints ( Science Fiction, positive than a teaching actor, who contributes to produce Inquire]. Auth ending, character’s personality ) that were given to stu-Takashi Iba some of discoveries in the creation and also encour- [9] M. Resnick. S dents drove them to think creatively and discuss lively. age your partners (learners) to think and commu- society. Learn This Challenging Mission convinced them how to dis- nicate. More concretely, tell your ideas, opinions such as December Jan cover their own discovery. “Oh! That’s a nice idea!” and questions such as “Do youChikara Ichikawa References International Baccalaureate Organization, IB learner profile mean ...?”, which assist to accelerate the flow of commu- nication and reconsider their ideas. It does not mean the control of the flow from outside. Rather, it is the influence Generative Participant to “Future Funeral”: The settingMami Sakamoto booklet, 2008 from inside. of not just imagine 30 years later but assume to meet at the “future funeral” of their elementary teacher makes Consequently students feel authentic. Both a teacher and studentsTomohito Yamazaki have no exact answer, they are doing the creative dia- logue in order to forecast the future. A teacher partic- Learners can keep concentration into the creation and feel ipate the discussion not only to facilitate students but the progress, and therefore they learn through the creation. also to present teacher’s view straightly.(PLoP2011)
  • 40. Presentation Patterns 10. 11. 12. Cherry on Top Perfect Portion 31. Unique Presenter(EuroPLoP2012) Beautiful Clarity 9. Doors of Mystery 14. Reality Sharing 8. Unexpected Evolution 15. Participation Driver 13. Mind Bridge 7. Dramatic Modulation 16. Quality in Details 2. Touching Gift 6. Visual Power 17. Expression Coordinator 5. Exploration of Words 0. Creative Presentation 18. Discomfort Removing 4. Storytelling 33. Be Authentic! 1. Main Message 3. Image of Success 19. Significant Void 30. Reflecting Forwards 22. Stage Building 20. Activation Switch 29. Improvised Presentation 21. Take-Home Gift 23. Reminders of Success 28. Invitation to the World 24. Construction of Confidence 27. Personally for You 32. Aesthetics of Presenting 26. 25. Presentership Best Effort 0 Creative Presentation Presentation Patterns: A Pattern Language for Creative Presentations (ver. 0.60) No.9 No. 1 Main Message 2 Touching Gift 3 Image of Success Doors of Mystery 4 Storytelling 5 Exploration of Words 6 Visual Power 7 Dramatic Modulation Solving mysteries one after another. 8 Unexpected Evolution You want to make an attractive Storytelling (4) that conveys the Main 9 Doors of Mystery Message (1). 10 Beautiful Clarity A Pattern Language for Creative Presentations 11 Perfect Portion 12 Cherry on Top 13 Mind Bridge You can’t keep the audience’s attention. 14 Reality Sharing 15 Participation Driver Interests towards a single subject don’t last long. 16 Quality in Details The audience will stop paying attention unless they feel impressed or 17 Expression Coordinator interested. 18 Discomfort Removing 19 Significant Void 20 Activation Switch 21 Take-Home GiftTakashi Iba Design the structure of the presentation so that it appeals to the curiosity of the audience and continuously drives their interest. 22 Stage Building 23 Reminders of Success Consider what the audience already knows and what they don’t know. 24 Construction of ConfidenceAya Matsumoto 25 Presentership From this assumption, consider what kind of things the audience would 26 Best Effort show interest in. Then construct the presentation so that the audience will 27 Personally for You continuously be surprised and learn something new. 28 Invitation to the World& Kaori Harasawa 29 Improvised Presentation 30 Reflecting Forwards Ver. 0.60 “A rainbow which lasts for a quarter of an hour is looked at no longer.” — The audience will become interactive to the presentation since they are curios October, 2012 31 Unique Presenter Johann Wolfgang von Goethe and intrigued. In addition, you can plan your Storytelling (4) in elaboration(EuroPLoP2009) Presentation Patterns Project 32 Aesthetics of Presenting Ver. 0.60 http://ppatterns.org/ with the Doors of Mysterious (9). 33 Be Authentic! presentpatterns@sfc.keio.ac.jp Presentation Patterns Project
  • 41. Generative Beauty Patterns rainb ow(PLoP2012) sta e rr e r w a tt wa owerr owe a o se n mo oo b 9 m ba sun Groups g roun d 13 The Generative Beauty Patterns are categorized into 9 groups Context You are always putting on makeup Flower, Bamboo, and Ground because you don’t have much Go Natural Rainbow, Water, and Ocean Star, Moon, and the Sun, that brings confidence in your bare face. Some beauty comes naturally Rinko Arao Problem You get such used to having makeup Ayano Tamefusa on that you don’t want to meet anyone when you don’t have any on. Megumi Kadotani Solution Kaori Harasawa Try adjusting the amount of makeup based on Shingo Sakai the occurrence and the people you are going to meet. Keishi Saruwatari Try putting on less when you are just going to school or work. If you are only going to meet your close friends, even try going natural. & Takashi Iba By having opportunities to put on different kinds of makeup, you might be able to notice something new about your face. (PLoP2012) ▶ 02. Charming Point 36. Various Sides
  • 42. Change Making Patterns(EuroPLoP2012, PLoP2012) No.3 No. Energy Boost Eri Shimomukai You are on the preparation of your project, in which you really wish to be & Takashi Iba dedicated. (EuroPLoP2009) Strong performances cannot exist unless you manage the essentials of your life. Without physical and mental heath, performance quality decreases. Taking actions require endurance and patience. Eri Shimomukai Look back on your life including your physical and mental situation, monetary life, and relationships. Then identify the shortages and make up for them. Sumire Nakamura To boost your energy for your project, exercise daily and eat in a healthy matter. Value the time with the people who are important to you, such as family and Working as a pro bono fundraiser, Mr. Hiroshi Ogawa is the sales friends. manager of a large enterprise. He is able to spend an economically stable life Even if your are busy, do not forget that you need a lively life to be active. & Takashi Iba and put energy in his reason for living. Mr. Ogawa acknowledges that his social contributions through Rooms to Read cannot exist without his family’s understating, friend’s trust, and a healthy life. Consequently, he values his With a stable life, you are able to make the most of your life and perform (PLoP2012) time and anniversaries with his family and improving eating habits. your work and tasks to your best quality.
  • 43. systems theory modeling &pattern languages
  • 44. abstraction imaginationcommunication
  • 45. Pattern Languages for Human Actions
  • 46. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 47. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 48. Pattern Language 3.0
  • 49. Three Waves of Pattern Languages Since the late 2000s Since the late 1990s Pattern Language 3.0 Since the late 1980s Pattern Language 2.0 Since the late 1970s Pattern Language 1.0
  • 50. Three Waves of Pattern Languages Object of Design Act of Design Purpose Forms of Human Action Design Act is Embeded Connecting People who (Innovation, Education, Learning, (Innovation, Education, Learning, in Actions over Time have Different Experiences Pattern Language Pattern Language Presentation, Collaboration) Design 3.0 a series of action Non-Physical Forms Design Act is Iterated Bridging the Gap between (Software, Interface, Organization) (Software, Interface, Organization) over Time Expert and Non-Expert Designers Pattern Language Pattern Language Design Design 2.0 release release Physical Forms Design Act is Basically Bridging the Gap between (Architecture) Carried out in a Period Designers and Users Pattern Language Pattern Language Design 1.0 complition
  • 51. Object of Design Forms of Human Action (Innovation, Education, Learning,Pattern LanguagePattern Language Presentation, Collaboration) 3.0 Non-Physical Forms (Software, Interface, Organization)Pattern LanguagePattern Language 2.0 Physical Forms (Architecture)Pattern LanguagePattern Language 1.0
  • 52. The idea of pattern languages was originally proposed forarchitectural design. http:// stephania32.wordpress.com / Christopher Alexander C. Alexander, S. Ishikawa, M. Silverstein, A Pattern Language: Towns, Buildings, Construction, Oxford University Press, 1977 Physical Forms (Architecture) Pattern Language Pattern Language 1.0
  • 53. Object of Design Forms of Human Action (Innovation, Education, Learning,Pattern LanguagePattern Language Presentation, Collaboration) 3.0 Non-Physical Forms (Software, Interface, Organization)Pattern LanguagePattern Language 2.0 Physical Forms (Architecture)Pattern LanguagePattern Language 1.0
  • 54. The method of pattern languages was applied intosoftware design in late 80’s. Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented http://commons.wikimedia.org/wiki/ File:Kent_Beck_no_Workshop_Map http://commons.wikimedia.org/wiki/ File:Ward_Cunningham_at_Wikima Program”, OOPSLA 87, 1987 ping_XP.jpg nia_2006.jpg Kent Beck Ward Cunningham Non-Physical Forms (Software, Interface, Organization) http://researchweb.watson.ibm.com/ Pattern Language Pattern Language designpatterns/pubs/ddj-eip-award.htm 2.0 GoF (Gang of Four) Erich Gamma, Richard Helm, Ralph Johnson, John Vlissides, Design Patterns: Elements of Reusable Object-Oriented Software, Addison-Wesley Professional, 1994
  • 55. Then, the method of pattern languages has been applied intoorganizational & interface design. James O. Coplien, Neil B. Harrison, Organizational Patterns of Agile Software Development, Prentice Hall, 2004 James Coplien Neil Harrison Non-Physical Forms (Software, Interface, Organization) Pattern Language Pattern Language 2.0 Jenifer Tindwell Jenifer Tidwell, Designing Interfaces, OReilly Media, 2005, 2011
  • 56. Object of Design Forms of Human Action (Innovation, Education, Learning,Pattern LanguagePattern Language Presentation, Collaboration) 3.0 Non-Physical Forms (Software, Interface, Organization)Pattern LanguagePattern Language 2.0 Physical Forms (Architecture)Pattern LanguagePattern Language 1.0
  • 57. The method of pattern languages has been appliedinto new areas of design, innovation and education. Forms of Human Action (Innovation, Education, Learning, Pattern Language Pattern Language Presentation, Collaboration) 3.0 Mary Lynn Manns Linda Rising M. Lynn Manns, L. Rising, Fearless Change: Patterns for Introducing New Ideas, Addison-Wesley, 2004 pedagogical / educational patterns D.L.G. Anthony, J. Bergin, C. Kooppe, C. Kohl, T. Iba, and more.
  • 58. The method of pattern languages has been appliedinto further new areas of design. Forms of Human Action (Innovation, Education, Learning, Pattern Language Pattern Language Presentation, Collaboration) 3.0 learning, presentation, life design, change making, and so on. 0 Creative Presentation Presentation Patterns: A Pattern Language for Creative Presentations (ver. 0.60) Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) 0 Design Your Learning 1 Main Message 1 Making Opportunities 2 Touching Gift 2 Creative Project 3 Open-Process Learning 3 Image of Success 4 Jump In 4 Storytelling 5 Learning by Imitation 5 Exploration of Words 6 Effective Asking 6 Visual Power 7 Output-Driven Learning 7 Dramatic Modulation 8 Foreign Language Every Day 8 Unexpected Evolution 9 Playful Learning 9 Doors of Mystery 10 Embodied Skills 10 Beautiful Clarity A Pattern Language for Creative Presentations 0.80 11 Language Shower 11 Perfect Portion ver. 12 Tangible Piles 12 Cherry on Top 13 Tornado of Learning 14 Triangle Scaling 15 Chain of Excitement! 13 Mind Bridge 14 Reality Sharing 16 Thinking in Action 15 Participation Driver 17 Prototyping 16 Quality in Details 18 Field Diving 17 Expression Coordinator 19 Multi-Camera Shooting 18 Discomfort Removing 20 A Birds- & Bugs-Eye View 19 Significant Void 21 Hidden Connections 20 Activation Switch 22 Frontier Finder 21 Take-Home Gift 23 Creative Switch 24 Fruit Farming 22 Stage Building 25 Initial Draft Only Halfway 26 Attractive Expression 23 Reminders of Success 27 Acceleration to Next 24 Construction of Confidence 25 Presentership 28 Community of Learning 26 Best Effort 29 Good Rivals 27 Personally for You 30 Consequential Encounter 28 Invitation to the World 31 Firm Determination 29 Improvised Presentation 32 Talking Thinker 30 Reflecting Forwards 33 Learning by Teaching Ver. 0.60 34 Obvious Reason patterns October, 2012 31 Unique Presenter 35 Right Way Presentation Patterns Project 32 Aesthetics of Presenting Ver. 0.60 A Pattern Language 36 Brave Change http://ppatterns.org/ 37 Explorers Passion 33 Be Authentic! presentpatterns@sfc.keio.ac.jp Presentation Patterns Project 38 39 Self-Producing Be Extreme! Ver. 0.80 September, 2011 for Creative Learning Learning Patterns Project learningpatterns@sfc.keio.ac.jp
  • 59. Object of Design Forms of Human Action (Innovation, Education, Learning,Pattern LanguagePattern Language Presentation, Collaboration) 3.0 Non-Physical Forms (Software, Interface, Organization)Pattern LanguagePattern Language 2.0 Physical Forms (Architecture)Pattern LanguagePattern Language 1.0
  • 60. Three Waves of Pattern Languages Object of Design Act of Design Purpose Forms of Human Action Design Act is Embeded Connecting People who (Innovation, Education, Learning, (Innovation, Education, Learning, in Actions over Time have Different Experiences Pattern Language Pattern Language Presentation, Collaboration) Design 3.0 a series of action Non-Physical Forms Design Act is Iterated Bridging the Gap between (Software, Interface, Organization) (Software, Interface, Organization) over Time Expert and Non-Expert Designers Pattern Language Pattern Language Design Design 2.0 release release Physical Forms Design Act is Basically Bridging the Gap between (Architecture) Carried out in a Period Designers and Users Pattern Language Pattern Language Design 1.0 complition
  • 61. Object of Design Act of Design Forms of Human Action Design Act is Embeded (Innovation, Education, Learning, (Innovation, Education, Learning, in Actions over TimePattern LanguagePattern Language Presentation, Collaboration) Design 3.0 a series of action Non-Physical Forms Design Act is Iterated (Software, Interface, Organization) (Software, Interface, Organization) over TimePattern LanguagePattern Language Design Design 2.0 release release Physical Forms Design Act is Basically (Architecture) Carried out in a PeriodPattern LanguagePattern Language Design 1.0 complition
  • 62. Three Waves of Pattern Languages Object of Design Act of Design Purpose Forms of Human Action Design Act is Embeded Connecting People who (Innovation, Education, Learning, (Innovation, Education, Learning, in Actions over Time have Different Experiences Pattern Language Pattern Language Presentation, Collaboration) Design 3.0 a series of action Non-Physical Forms Design Act is Iterated Bridging the Gap between (Software, Interface, Organization) (Software, Interface, Organization) over Time Expert and Non-Expert Designers Pattern Language Pattern Language Design Design 2.0 release release Physical Forms Design Act is Basically Bridging the Gap between (Architecture) Carried out in a Period Designers and Users Pattern Language Pattern Language Design 1.0 complition
  • 63. Object of Design Purpose Non-Physical Forms Bridging the Gap between (Software, Interface, Organization) Expert and Non-Expert DesignersPattern LanguagePattern Language 2.0 Physical Forms Bridging the Gap between (Architecture) Designers and UsersPattern LanguagePattern Language 1.0
  • 64. “In short, the production systems which we have at presentdefine a pattern of control which makes it almost impossiblefor things to be done carefully or appropriately, because,almost without exception, decisions are in the wrong hands,decisions are being made at levels far removed from theimmediate concrete places where they have impact.” Part.I, p.40, l.8 Bridging the Gap between Designers and Users C. Alexander, The Production of Houses, Oxford University Press, 1985
  • 65. “We replace the idea of standardized housing units with theidea of houses (or apartments) designed by the families whoare to live in them, each one designed entirely according tothe family’s own unique needs and character, so that as amatter of feeling, each house becomes a genuine life base, aplace for the heart, a place in which the family, as a uniquebeing in society, may be anchored and nourished.” Chap.4, p.165, l.16 Bridging the Gap between Designers and Users C. Alexander, The Production of Houses, Oxford University Press, 1985
  • 66. “In order to make this possible, there must be some system ofrules, some pattern language, or some other similar flexibleinstrument which makes it possible for families to do this in acompetent way.” Chap.4, p.157, l.13 Bridging the Gap between Designers and Users C. Alexander, The Production of Houses, Oxford University Press, 1985
  • 67. Object of Design Purpose Non-Physical Forms Bridging the Gap between (Software, Interface, Organization) Expert and Non-Expert DesignersPattern LanguagePattern Language 2.0 Physical Forms Bridging the Gap between (Architecture) Designers and UsersPattern LanguagePattern Language 1.0
  • 68. We propose a radical shift in the burden of design andimplementation, using concepts adapted from the work ofChristopher Alexander, an architect and founder of the Centerfor Environmental Structures. Alexander proposes homes andoffices be designed and built by their eventual occupants. Thesepeople, he reasons, know best their requirements for a particularstructure. We agree, and make the same argument for computerprograms. Computer users should write their own programs. Theidea sounds foolish when one considers the size and complexityof both buildings and programs, and the years of training for thedesign professions. Yet Alexander offers a convincing scenario.It revolves around a concept called a "pattern language." Bridging the Gap between Expert and Non-Expert Designers Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented Programs,” OOPSLA-87, 1987
  • 69. A pattern language guides a designer by providing workablesolutions to all of the problems known to arise in the courseof design. It is a sequence of bits of knowledge written in astyle and arranged in an order which leads a designer to ask(and answer) the right questions at the right time. Bridging the Gap betweenExpert and Non-Expert Designers Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented Programs,” OOPSLA-87, 1987
  • 70. Chapter 1IntroductionDesigning object-oriented software is hard, and designingreusable object-oriented software is even harder. ... Yourdesign should be specific to the problem at hand but alsogeneral enough to address future problems and requirements.... Experienced object-oriented designers will tell you that areusable and flexible design is difficult if not impossible toget “right” the first time. ... (p.1) Bridging the Gap between Erich Gamma, Richard Helm, Ralph Expert and Non-Expert Designers Johnson, John Vlissides, Design Patterns: Elements of Reusable Object-Oriented Software, Addison-Wesley Professional, 1994
  • 71. Design patterns make it easier to reuse successful designs andarchitectures. Expressing proven techniques as designpatterns makes them more accessible to developers of newsystems. Design patterns help you choose design alternativesthat make a system reusable and avoid alternatives thatcompromise reusability. Design patterns can even improvethe documentation and maintenance of existing systems byfurnishing an explicit specification of class and objectinteractions and their underlying intent. Put simply, designpatterns help a designer get a design “right” faster. (p.2) Bridging the Gap between Erich Gamma, Richard Helm, Ralph Expert and Non-Expert Designers Johnson, John Vlissides, Design Patterns: Elements of Reusable Object-Oriented Software, Addison-Wesley Professional, 1994
  • 72. Object of Design Purpose Non-Physical Forms Bridging the Gap between (Software, Interface, Organization) Expert and Non-Expert DesignersPattern LanguagePattern Language 2.0 Physical Forms Bridging the Gap between (Architecture) Designers and UsersPattern LanguagePattern Language 1.0
  • 73. Object of Design Purpose Forms of Human Action Connecting People who (Innovation, Education, Learning, have Different ExperiencesPattern LanguagePattern Language Presentation, Collaboration) 3.0 Non-Physical Forms Bridging the Gap between (Software, Interface, Organization) Expert and Non-Expert DesignersPattern LanguagePattern Language 2.0 Physical Forms Bridging the Gap between (Architecture) Designers and UsersPattern LanguagePattern Language 1.0
  • 74. Object of Design Purpose Forms of Human Action Connecting People who (Innovation, Education, Learning, have Different ExperiencesPattern LanguagePattern Language Presentation, Collaboration) 3.0 Pattern Languages as Media for Narrative & Dialogues
  • 75. Pattern Language 3.0
  • 76. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 77. Oral Language
  • 78. Connecting People who have Different ExperiencesPattern Language 3.0
  • 79. Dialogue Workshop with a Pattern Language Reflecting on & Talking about your experiences, using the vocabulary (patterns) provided in a pattern language.
  • 80. No.0Dialogue Workshop No.1 Design Your Learningwith Making Opportunities No.4 Jump In No.5 Learning by Imitation No.6 Effective Asking patterns No.7 Output-Driven LearningA Pattern Language No.8 Foreign Language Every Dayfor Creative Learning No.9 Playful Learning No.10 Embodied Skills No.11 Language Shower No.2 No.12 Tangible Piles Creative Project No.13 Tornado of Learning No.16 Thinking in Action No.14 Triangle Scaling No.17 PrototypingLearning Patterns consist of 40 patterns, and No.15 Chain of Excitement! No.18 Field Divingthere are three types of patterns. No.3 No.19 Multi-Camera Shooting• First type is the root pattern of this pattern Open-Process Learning No.20 A Birds- & Bugs-Eye View No.21 Hidden Connections language. To be concrete, it is Design Your No.28 Community of Learning Learning (No.0). No.22 Frontier Finder No.29 Good Rivals No.23 Creative Switch• Second type is the category patterns that No.30 Consequential Encounter No.24 Fruit Farming emphasize the essence of creative learning No.31 Firm Determination and group detail patterns, which we’ll No.32 Talking Thinker No.25 Initial Draft Only Halfway mention next. Making Opportunities (No.1), No.33 Learning by Teaching No.26 Attractive Expression No.27 Acceleration to Next Creative Project (No.2), and Open-Process No.34 Obvious Reason Learning (No.3) are category patterns. No.35 Right Way No.36 Brave Change• Third type is detail patterns for providing the practical approach to achieve creative No.37 Explorers Passion learning. 36 patterns are introduced as this No.38 Self-Producing type of patterns in this book. No.39 Be Extreme!
  • 81. a whole of learninga learner learning Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) 0 Design Your Learning 1 Making Opportunities 2 Creative Project 3 Open-Process Learning learning as a center 4 Jump In 5 Learning by Imitation learning 6 Effective Asking 7 Output-Driven Learning learning 8 Foreign Language Every Day as a center 9 Playful Learning 10 Embodied Skills 0.80 11 Language Shower ver. 12 Tangible Piles as a center 13 Tornado of Learning 14 Triangle Scaling as a center 15 Chain of Excitement! 16 Thinking in Action 17 Prototyping 18 Field Diving 19 Multi-Camera Shooting 20 A Birds- & Bugs-Eye View 21 Hidden Connections 22 Frontier Finder 23 Creative Switch 24 Fruit Farming 25 Initial Draft Only Halfway 26 Attractive Expression 27 Acceleration to Next 28 Community of Learning 29 Good Rivals 30 Consequential Encounter 31 Firm Determination 32 Talking Thinker 33 Learning by Teaching 34 Obvious Reason patterns 35 Right Way 36 37 Brave Change Explorers Passion A Pattern Language 38 39 Self-Producing Be Extreme! Ver. 0.80 September, 2011 for Creative Learning Learning Patterns Project learningpatterns@sfc.keio.ac.jp
  • 82. Dialogue Workshop with a Pattern Language Making a list of the patterns you have Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) 0 Design Your Learning 1 Making Opportunities 2 Creative Project 3 Open-Process Learning 4 Jump In 5 Learning by Imitation 6 Effective Asking experienced. 7 Output-Driven Learning 8 Foreign Language Every Day 9 Playful Learning 10 Embodied Skills 0.80 11 Language Shower ver. 12 Tangible Piles 13 Tornado of Learning 14 Triangle Scaling 15 Chain of Excitement! 16 17 Thinking in Action Prototyping Experience Mining and Dialogues 18 Field Diving Workshop Sheet Ken 19 Multi-Camera Shooting Circle all patterns that you have experienced, and put a check 20 A Birds- & Bugs-Eye View Your printed name or nickname here mark on just 5 patterns that you want to do in the near future. 21 Hidden Connections 22 Frontier Finder 23 Creative Switch 24 Fruit Farming 1. Making Opportunities 25 Initial Draft Only Halfway Choose some patterns you want to gain 26 Attractive Expression Jump In 27 Acceleration to Next Learning by Imitation Effective Asking 28 Community of Learning 29 Good Rivals 30 Consequential Encounter Output-Driven Learning 31 Firm Determination Foreign Language Every Day 32 Talking Thinker Playful Learning 33 Learning by Teaching 34 Obvious Reason patterns Embodied Skills in the near future. 35 Right Way Language Shower 36 37 Brave Change Explorers Passion A Pattern Language Tangible Piles 38 39 Self-Producing Be Extreme! Ver. 0.80 September, 2011 for Creative Learning Tornado of Learning 2. Creative Project Learning Patterns Project Triangle Scaling Thinking in Action learningpatterns@sfc.keio.ac.jp Chain of Excitement! Prototyping Field Diving Multi-Camera Shooting 3. Open-Process Learning A Birds- & Bugs-Eye View Community of Learning Hidden Connections Good Rivals Consequential Encounter Frontier Finder Creative Switch Firm Determination Fruit Farming Talking Thinker Learning by Teaching Initial Draft Only Halfway Attractive Expression Obvious Reason Acceleration to Next Right Way Brave Change Explorers Passion Design Your Learning Self-Producing Be Extreme! with A Pattern Language for Creative Learning patterns
  • 83. Dialogue Workshop with a Pattern Language Experience Mining and Dialogues Workshop Sheet C. Kohls Circle all patterns that you have experienced, and put a check Your printed name or nickname here mark on just 5 patterns that you want to do in the near future. 1. Making Opportunities Jump In Learning by Imitation Effective Asking Output-Driven Learning Foreign Language Every Day Playful Learning Embodied Skills Language Shower Tangible Piles 2. Creative Project Circle all patterns that you Tornado of Learning Triangle Scaling Thinking in Action Chain of Excitement! Prototyping have experienced. Field Diving Multi-Camera Shooting 3. Open-Process Learning A Birds- & Bugs-Eye View Community of Learning Hidden Connections Good Rivals Consequential Encounter Frontier Finder Creative Switch Firm Determination Fruit Farming Talking Thinker Learning by Teaching Initial Draft Only Halfway Also, put a check mark on Attractive Expression Obvious Reason Acceleration to Next Right Way some patterns that you want Brave Change Explorers Passion Design Your Learning to gain in the near future. Self-Producing Be Extreme! with A Pattern Language for Creative Learning patterns
  • 84. Dialogue Workshop with a Pattern Language Look for the person who has experienced Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) 0 Design Your Learning 1 Making Opportunities 2 Creative Project 3 Open-Process Learning 4 Jump In 5 Learning by Imitation the patterns you want to gain. Listen to their 6 Effective Asking 7 Output-Driven Learning 8 Foreign Language Every Day 9 Playful Learning 10 Embodied Skills 0.80 11 Language Shower ver. 12 Tangible Piles 13 Tornado of Learning 14 Triangle Scaling 15 Chain of Excitement! experience. 16 17 Thinking in Action Prototyping Experience Mining and Dialogues 18 Field Diving Workshop Sheet Ken 19 Multi-Camera Shooting Circle all patterns that you have experienced, and put a check 20 A Birds- & Bugs-Eye View Your printed name or nickname here mark on just 5 patterns that you want to do in the near future. 21 Hidden Connections 22 Frontier Finder 23 Creative Switch 24 Fruit Farming 1. Making Opportunities 25 Initial Draft Only Halfway 26 Attractive Expression Jump In 27 Acceleration to Next Learning by Imitation Effective Asking 28 Community of Learning 29 Good Rivals 30 Consequential Encounter Output-Driven Learning 31 Firm Determination Foreign Language Every Day 32 Talking Thinker Playful Learning 33 Learning by Teaching Tell your experience, if you meet the people 34 Obvious Reason patterns Embodied Skills 35 Right Way Language Shower 36 37 Brave Change Explorers Passion A Pattern Language Tangible Piles 38 39 Self-Producing Be Extreme! Ver. 0.80 September, 2011 for Creative Learning Tornado of Learning 2. Creative Project Learning Patterns Project Triangle Scaling Thinking in Action learningpatterns@sfc.keio.ac.jp Chain of Excitement! Prototyping Field Diving who want to gain the patterns you have Multi-Camera Shooting 3. Open-Process Learning A Birds- & Bugs-Eye View Community of Learning Hidden Connections Good Rivals Consequential Encounter Frontier Finder Creative Switch Firm Determination Fruit Farming Talking Thinker Learning by Teaching Initial Draft Only Halfway experienced. Attractive Expression Obvious Reason Acceleration to Next Right Way Brave Change Explorers Passion Design Your Learning Self-Producing Be Extreme! with A Pattern Language for Creative Learning patterns
  • 85. Dialogue Workshop (Video)
  • 86. ITS-6, 2011
  • 87. Workshop in the COINs2011 Conference
  • 88. Dialogue Workshop Sundayat PLoP2012 !
  • 89. Dialogue Workshop with a Pattern Language Experience Mining and Dialogues Workshop Sheet C. Kohls Circle all patterns that you have experienced, and put a check Your printed name or nickname here mark on just 5 patterns that you want to do in the near future. 1. Making Opportunities Jump In Learning by Imitation Effective Asking Output-Driven Learning Foreign Language Every Day Playful Learning Embodied Skills Language Shower Tangible Piles 2. Creative Project Circle all patterns that you Tornado of Learning Triangle Scaling Thinking in Action Chain of Excitement! Prototyping have experienced. Field Diving Multi-Camera Shooting 3. Open-Process Learning A Birds- & Bugs-Eye View Community of Learning Hidden Connections Good Rivals Consequential Encounter Frontier Finder Creative Switch Firm Determination Fruit Farming Talking Thinker Learning by Teaching Initial Draft Only Halfway Also, put a check mark on Attractive Expression Obvious Reason Acceleration to Next Right Way some patterns that you want Brave Change Explorers Passion Design Your Learning to gain in the near future. Self-Producing Be Extreme! with A Pattern Language for Creative Learning patterns
  • 90. How many participants have experience of each pattern?@ COINs2011 Conference 0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18 Jump"In" Learning"by"Imita;on" Effec;ve"Asking" OutputEDriven"Learning" Foreign"Language"Every"Day" Playful"Learning" Embodied"Skills" Language"Shower" Tangible"Piles" Tornado"of"Learning" Triangle"Scaling" Chain"of"Excitement!" Thinking"in"Ac;on" Prototyping" Field"Diving" Mul;ECamera"Shoo;ng" A"BirdsE"&"BugsEEye"View" Hidden"Connec;ons" Fron;er"Finder" Crea;ve"Switch" Fruit"Farming" Ini;al"DraY"Only"Halfway" AZrac;ve"Expression" Accelera;on"to"Next" Community"of"Learning" Good"Rivals" Consequen;al"Encounter" Firm"Determina;on" Talking"Thinker" Learning"by"Teaching" Obvious"Reason" Right"Way" Brave"Change" Explorers"Passion" SelfEProducing" Be"Extreme!"
  • 91. How many participants have experience of each pattern? 0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18" 0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18" 19" 20" 21" 22" 23" 24" 25" 26" 2 Jump"In" Jump"In" Jump"In" Learning"by"Imita;on" Learning"by"Imita;on" Learning"by"Imita;on" Effec;ve"Asking" Effec;ve"Asking" Effec;ve"Asking" OutputEDriven"Learning" OutputEDriven"Learning" OutputEDriven"Learning"Foreign"Language"Every"Day" Foreign"Language"Every"Day" Foreign"Language"Every"Day" Playful"Learning" Playful"Learning" Playful"Learning" Embodied"Skil s" Embodied"Skil s" Embodied"Skills" Language"Shower" Language"Shower" Language"Shower" Tangible"Piles" Tangible"Piles" Tangible"Piles" Tornado"of"Learning" Tornado"of"Learning" Tornado"of"Learning" Triangle"Scaling" Triangle"Scaling" Triangle"Scaling" Chain"of"Excitement!" Chain"of"Excitement!" Chain"of"Excitement!" Thinking"in"Ac;on" Thinking"in"Ac;on" Thinking"in"Ac;on" Prototyping" Prototyping" Prototyping" Field"Diving" Field"Diving" Field"Diving" Mul;ECamera"Shoo;ng" Mul;ECamera"Shoo;ng" Mul;ECamera"Shoo;ng" A"BirdsE"&"BugsEEye"View" A"BirdsE"&"BugsEEye"View" A"BirdsE"&"BugsEEye"View" Hidden"Connec;ons" Hidden"Connec;ons" Hidden"Connec;ons" Fron;er"Finder" Fron;er"Finder" Fron;er"Finder" Crea;ve"Switch" Crea;ve"Switch" Crea;ve"Switch" Fruit"Farming" Fruit"Farming" Fruit"Farming" Ini;al"DraY"Only"Halfway" Ini;al"DraY"Only"Halfway" Ini;al"DraY"Only"Halfway" AZrac;ve"Expression" AZrac;ve"Expression" AZrac;ve"Expression" Accelera;on"to"Next" Accelera;on"to"Next" Accelera;on"to"Next" Community"of"Learning" Community"of"Learning" Community"of"Learning" Good"Rivals" Good"Rivals" Good"Rivals" Consequen;al"Encounter" Consequen;al"Encounter" Consequen;al"Encounter" Firm"Determina;on" Firm"Determina;on" Firm"Determina;on" Talking"Thinker" Talking"Thinker" Talking"Thinker" Learning"by"Teaching" Learning"by"Teaching" Learning"by"Teaching" Obvious"Reason" Obvious"Reason" Obvious"Reason" Right"Way" Right"Way" Right"Way" Brave"Change" Brave"Change" Brave"Change" Explorers"Passion" Explorers"Passion" Explorers"Passion" SelfEProducing" SelfEProducing" SelfEProducing" Be"Extreme!" Be"Extreme!" Be"Extreme!" Researchers College Freshmen College Freshmen
  • 92. How many participants have experience of each pattern? College Freshmen 0" 10" 20" 30" 40" 50" 60" 70" 80" 90" 100" 110" 120" 130" 140" 150" 160" 170" 180" 190" 200" 学びのデザイン 学びのチャンス 創造的な学び 学びをひらく 学びの竜巻 知のワクワク! 研究への情熱 まずはつかる 「まねぶ」ことから 教わり上手になる 身体で覚える 成長の発見 言語のシャワー アウトプットから始まる学び プロトタイピング 学びのなかの遊び 動きのなかで考える フィールドに飛び込む 偶有的な出会い フロンティアンテナ 広がりと掘り下げの「T字」 隠れた関係性から学ぶ 右脳と左脳のスイッチ 鳥の眼と虫の眼 量は質を生む 自分で考える 目的へのアプローチ 捨てる勇気 学びの共同体をつくる 「はなす」ことでわかる ライバルをつくる 教えることによる学び 外国語の普段使い 小さく生んで大きく育てる 魅せる力 「書き上げた」は道半ば ゴール前のアクセル セルフプロデュース 断固たる決意 突き抜ける
  • 93. How many participants have experience of each pattern? College+ How many participants want to gain each pattern? Freshmen 0" 10" 20" 30" 40" 50" 60" 70" 80" 90" 100" 110" 120" 130" 140" 150" 160" 170" 180" 190" 200" 学びのデザイン 学びのチャンス 創造的な学び 学びをひらく 学びの竜巻 知のワクワク! 研究への情熱 まずはつかる 「まねぶ」ことから 教わり上手になる 身体で覚える 成長の発見 言語のシャワー アウトプットから始まる学び プロトタイピング 学びのなかの遊び 動きのなかで考える フィールドに飛び込む 偶有的な出会い フロンティアンテナ 広がりと掘り下げの「T字」 隠れた関係性から学ぶ 右脳と左脳のスイッチ 鳥の眼と虫の眼 量は質を生む 自分で考える 目的へのアプローチ 捨てる勇気 学びの共同体をつくる 「はなす」ことでわかる ライバルをつくる 教えることによる学び 外国語の普段使い 小さく生んで大きく育てる 魅せる力 「書き上げた」は道半ば ゴール前のアクセル セルフプロデュース 断固たる決意 突き抜ける
  • 94. Dialogue Workshop with a Pattern Language Experience Mining and Dialogues Workshop Sheet C. Kohls Circle all patterns that you have experienced, and put a check Your printed name or nickname here mark on just 5 patterns that you want to do in the near future. 1. Making Opportunities Jump In Learning by Imitation Effective Asking Output-Driven Learning Foreign Language Every Day Playful Learning Embodied Skills Language Shower Tangible Piles 2. Creative Project Circle all patterns that you Tornado of Learning Triangle Scaling Thinking in Action Chain of Excitement! Prototyping have experienced. Field Diving Multi-Camera Shooting 3. Open-Process Learning A Birds- & Bugs-Eye View Community of Learning Hidden Connections Good Rivals Consequential Encounter Frontier Finder Creative Switch Firm Determination Fruit Farming Talking Thinker Learning by Teaching Initial Draft Only Halfway Also, put a check mark on Attractive Expression Obvious Reason Acceleration to Next Right Way some patterns that you want Brave Change Explorers Passion Design Your Learning to gain in the near future. Self-Producing Be Extreme! with A Pattern Language for Creative Learning patterns
  • 95. Co-occurrence network of participants@ COINs2011 Conference Maria Julia Joanna Lyisoureutoy Sibashicu Melina Chris Miller Allycia No Yang Jones Takis name 1 Catherine Walthard Olav Karsten Jansen Thomas Peter Fundnerder Gloor Misali Salasez Robin Ricjardson Matthaus Ralf Zylka Jermain Kaminski
  • 96. Triangle Scaling Hidden ConnectionsCo-occurrence network of patterns@ COINs2011 Conference Field Diving Learning Creative by Switch Imitation Prototyping Acceleration to Next Playful Firm Learning Language Frontier Determination Shower Finder Obvious Initial Reason Draft Foreign Only Effective Language Halfway Asking Every Right Day Talking Way Good Thinker Rivals Fruit Tornado Farming of Multi−Camera Embodied Learning Be Shooting Thinking Skills Extreme! in Attractive Action Output−Driven Expression Learning Brave Change Learning by Explorer’s A Teaching Passion Bird’s− & Tangible Bug’s−Eye Self−Producing Piles View Consequential Encounter Jump In
  • 97. Dialogue Workshop Ask for Help Just Enoughwith Big Jolt Bridge-Builder Just Say Thanks Local SponsorFEARLESS CHANGE Brown Bag Location, Location, Location Champion Skeptic Mentor Connector Next Steps Corporate Angel Personal Touch Corridor Politics Piggyback Dedicated Champion Plant the Seeds Do Food The Right Time e-Forum Royal Audience Early Adopter Shoulder to Cry On Early Majority Small Successes Evangelist Smell of Success External Validation Stay in Touch Fear Less Step by Step Group Identity Study Group Guru on Your Side Sustained Momentum Guru Review Tailor Made Hometown Story Test the Waters In Your Space Time for Reflection Innovator Token Involve Everyone Trial Run Just Do It Whisper in the Generals Ear
  • 98. How many participants have experience of each pattern? 0" 5" 10" 15" 20" 25" 30" 35" Ask"for"Help" Big"Jolt" Bridge8Builder" Brown"Bag" Champion"SkepAc" Connector" Corporate"Angel" Corridor"PoliAcs" Dedicated"Champion" Do"Food" e8Forum" Early"Adopter" Early"Majority" Evangelist" External"ValidaAon" Fear"Less" Group"IdenAty" Guru"on"Your"Side" Guru"Review" Hometown"Story" In"Your"Space" Innovator" Involve"Everyone" Just"Do"It" Just"Enough" Just"Say"Thanks" Local"Sponsor"LocaAon,"LocaAon,"LocaAon" Mentor" Next"Steps" Personal"Touch" Piggyback" Plant"the"Seeds" The"Right"Time" Royal"Audience" Shoulder"to"Cry"On" Small"Successes" Smell"of"Success" Stay"in"Touch" Step"by"Step" Study"Group" Sustained"Momentum" Tailor"Made" Test"the"Waters" Time"for"ReflecAon" Token" Trial"Run"Whisper"in"the"Generals"Ear"
  • 99. How many participants want to gain each pattern? 0" 5" 10" 15" 20" Ask"for"Help" Big"Jolt" Bridge6Builder" Brown"Bag" Champion"Skep?c" Connector" Corporate"Angel" Corridor"Poli?cs" Dedicated"Champion" Do"Food" e6Forum" Early"Adopter" Early"Majority" Evangelist" External"Valida?on" Fear"Less" Group"Iden?ty" Guru"on"Your"Side" Guru"Review" Hometown"Story" In"Your"Space" Innovator" Involve"Everyone" Just"Do"It" Just"Enough" Just"Say"Thanks" Local"Sponsor"Loca?on,"Loca?on,"Loca?on" Mentor" Next"Steps" Personal"Touch" Piggyback" Plant"the"Seeds" The"Right"Time" Royal"Audience" Shoulder"to"Cry"On" Small"Successes" Smell"of"Success" Stay"in"Touch" Step"by"Step" Study"Group" Sustained"Momentum" Tailor"Made" Test"the"Waters" Time"for"Reflec?on" Token" Trial"Run"Whisper"in"the"Generals"Ear"
  • 100. Co-occurrencenetwork of patterns
  • 101. Orality and Literacy Walter J. Ong Routledge, 1982, 2002
  • 102. Orality and Literacy Human society first formed itself with the aid of oral speech, becoming literate very late in its history, and at first only in certain groups. Homo Sapiens has been in existence for between 30,000 and 50,000 years. The earliest script dates from only 6000 years ago. (p.2) Yet, despite the oral roots of all verbalization, the scientific and literary study of language and literature has for centuries, until quite recent years, shied away from orality. (p.8) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002
  • 103. Orality and Literacy We --- readers of books such as this --- are so literate that it is very difficult for us to conceive of an oral universe. This book will attempt to overcome our biases in some degree and to open new ways to understanding. (p.2) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002 We --- writers of pattern languages --- are so literate that it is very difficult for us to conceive of an oral universe of pattern languages. This talk attempts to overcome our biases in some degree and to open new ways to understanding.
  • 104. Writingas separating the knower from the known The distancing which writing effects develops a new kind of precision in verbalization by removing it from the rich but chaotic existential context of much oral utterance. (p.102) written words sharpen analysis, for the individual words are called on to do more. To make yourself clear without gesture, without facial expression, without intonation, without a real hearer, you have to foresee circumspectly all possible meanings a statement may have for any possible reader in any possible situation, and you have to make your language work so as to come clear all by itself, with no existential context. (p.103) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002So the description of written pattern language tend to be long.
  • 105. Adventure Playground 670 words(C. Alexander) 2 photos, 1 sketch Any kind of playground which disturbs, or reduces, the role of imagination and makes the child more passive, more the recipient of someone else’s imagination, may look nice, may be clean, may be safe, may be health --- but it just cannot satisfy the fundamental need which play is all about. And, to put it bluntly, it is a waste of time and money. Huge abstract sculptured playlands are just as bad as asphalt playgrounds and jungle gyms. They are not just sterile; they are useless. The functions they perform have nothing to do with the child’s most basic needs. ... This need for adventurous and imaginative play is taken care of handily in small towns and in the countryside, where children have access to raw materials, space, and a somewhat comprehensible environment. In cities, however, it has become a pressing concern. The world of private toys and asphalt playgrounds does not provide the proper settings for this kind A castle, made of cartons, rocks, and old branches, by a of play. group of children for themselves, is worth a thousand perfectly detailed, exactly finished castles, made for them in a factory. Play has many functions; it gives children a chance to be together, a chance to use their bodies, to build muscles, and to test new skills. But above all, play is a function of the Therefore: imagination. A child’s play is his way of dealing with the issues Set up a playground for the children in each of his growth, of relieving tensions and exploring the future. It neighborhood. Not a highly finished playground, with reflects directly the problems and joys of his social reality. asphalt and swings, but a place with raw materials of all Children come to terms with the world, wrestle with their kinds --- nets, boxes, barrels, trees, ropes, simple tools, pictures of it, and reform these pictures constantly, through those frames, grass, and water --- where children can create adventures of imagination we call play. and re-create playgrounds of their own.
  • 106. Abstract Factory 2,159 words(GoF’s Design Patterns) 2 diagram 83 lines code
  • 107. Jump In 182 words(Learning Patterns) 1 illustration No.4 No. Jump In Do not hesitate to jump into a new learning environment. You have already found the new environment wihch you wish to be in and about to start a new challenge. You are still doubtful whether the community is really suitable for you. It is not until you learn that you really understand what you wanted to learn. Jump into the new environment for your learning. “The great composer does not set to work because he is inspired, but be- “Make up your mind to act decidedly and take the consequences. No good Observe the events that happen there and learn from the members. Engage in the activity with all your effort as possible. After some time, evaluate the environment and rebuild a plan of your learning.
  • 108. Cheer-up Cookies 68 words(Generative Beauty Patterns) 4 photos 31 Context Your feelings are unclear. Cheer-up Cookies Recover your mood Problem You can’t figure out why your feelings are so pent-up. Solution Know a way that would cheer you up. Listen to your favorite music; eat your favorite food; go out to the movies; talk to a friend. If you know what would cheer you up, you can always be in a good mood. ▶ 28. Lavish Makeover 37. Space Out
  • 109. Adventure Playground 670 wordsPL1.0 (C. Alexander) 2 photos, 1 sketch Abstract Factory 2,159 wordsPL2.0 (GoF’s Design Patterns) 2 diagram 83 lines code Jump In 182 words (Leaerning Patterns) 1 illustrationPL3.0 Cheer-up Cookies 68 words (Generative Beauty Patterns) 4 photos Pattern Languages as Media for Narrative & Dialogues
  • 110. Frequent Advices & Questions for our pattern languages #1“Write more sentences.” We intentionally try to keep short and simple sentences !
  • 111. Pattern Languages as Media for Narrative & Dialogues
  • 112. Narrative as Oral MemoryIn an oral culture, knowledge, once acquired,had to be constantly repeated or it would belost. (p.23)Sustained thought in an oral culture is tied to communication. (p.34)Because of their size and complexity of scenes andactions, narrative of this sort are often the roomiestrepositories of an oral culture’s lore. (p.137) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002
  • 113. Narrative as Forming a Unity writing and print isolate. (p.73) the spoken word forms human beings into close-knit groups. When a speaker is addressing an audience, the members of the audience normally become a unity, with themselves and with the speaker. (p.73) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002
  • 114. Frequent Advices & Questions for our pattern languages #2 “Add Examples.”
  • 115. Learning Patterns No.4 No. Jump In Do not hesitate to jump into a new learning environment. You have already found the new environment wihch you wish to be in and about to start a new challenge. You are still doubtful whether the community is really suitable for you. It is not until you learn that you really understand what you wanted to learn. Jump into the new environment for your learning. “The great composer does not set to work because he is inspired, but be- “Make up your mind to act decidedly and take the consequences. No good Observe the events that happen there and learn from the members. Engage in the activity with all your effort as possible. After some time, evaluate the environment and rebuild a plan of your learning.
  • 116. Frequent Advices & Questions for our pattern languages #2 “Add Examples.”We intentionally omit the examples,because we believe that they should becomplemented in the conversation, likein workshops.
  • 117. Pattern Languages as Media for Narrative & Dialogues
  • 118. And, one more lesson from ... Orality and Literacy Walter J. Ong Routledge, 1982, 2002
  • 119. Secondary Orality The electric age is also an age of `secondary orality’, the orality of telephone, radio, and television, which depends on writing and print for its existence. (p.3) with telephone, radio, television and various kinds of sound tape, electric technology has brought us into the age of `secondary orality’. This new orality has striking resemblances to the old in its participatory mystique, its fostering of a communal sense, its concentration on the present moment, and even its use of formulas. But it is essentially a more deliberate and self-conscious orality, based permanently on the use of writing and print, which are essential for the manufacture and operation of the equipment and for its use as well. (p.133) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002
  • 120. Secondary Orality Secondary orality is both remarkably like and remarkably unlike primary orality. Like primary orality, secondary orality has generated a strong group sense, for listening to spoken words forms hearers into a group, a true audience, just as reading written or printed texts turns individuals in on themselves. But secondary orality generates a sense for groups immeasurably larger than those of primary oral culture --- McLuhan’s `global village’. (p.134) Various kinds of residual orality as well as the `literate orality’ of the secondary oral culture induced by radio and television await in-depth study. (p.157) Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002Worthwhile exploring new ways of pattern languagesin the age of `secondary orality.’
  • 121. Worthwhile exploring new ways of pattern languagesin the age of `secondary orality.’- Using videos rather than texts in sharing pattern languages Pattern Languages Filming Project - making videos for sharing patterns in a pattern language - making a documentary film about the idea, history, and community of pattern languages
  • 122. Oral Language
  • 123. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 124. Holistic Approach
  • 125. THE QUALITY WITHOUT A NAMEThere is a central quality which is the root criterion of life andspirit in a man, a town, a building, or a wilderness. This qualityis objective and precise, but it cannot be named. C. Alexander, The Timeless Way of Building, Oxford University Press, 1979. alive whole eternal Quality Without A Name comfortable egoless free exact
  • 126. Throughout this book, I shall be looking for a broad conceptionof life, in which each things --- regardless of what it is --- hassome degree of life.Each stone, rather, and piece of concrete has some degree of life. The Nature of Order, Book One: The Phenomenon of Life, Christopher Alexander, Center for Environmental Structure, 2002 Chapter One, The Phenomenon of Life
  • 127. Thus life is not a limited mechanical concept which applies toself-producing biological machines.It is a quality which inheres in space itself, and applies to everybrick, every stone, every person, every physical structure of anykind at all, that appears in space. Each thing has its life. The Nature of Order, Book One: The Phenomenon of Life, Christopher Alexander, Center for Environmental Structure, 2002 Chapter One, The Phenomenon of Life
  • 128. To produce this life, we must first see how life springs fromwholeness, and indeed how life is wholeness. Wholeness existsall around us, and life springs from it. The Nature of Order, Book One: The Phenomenon of Life, Christopher Alexander, Center for Environmental Structure, 2002 Chapter One, The Phenomenon of Life
  • 129. Pattern Mining
  • 130. Learning Patterns Project 2008∼2009 @Keio University Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80) r Learningportunitiesojectess Learningy Imitationskingven Learningnguage Every Day rningSkills 0.80Shower ver. les Learning alingxcitement! Actiongera Shooting Bugs-Eye Viewnnectionsnderwitch ng Only HalfwayExpression n to Next of Learning sntial Encounterminationnkery Teachingeason A Pattern Language patternsngePassioncinge! Ver. 0.80 September, 2011 for Creative Learning Learning Patterns Project learningpatterns@sfc.keio.ac.jp Takashi Iba, Mami Sakamoto, Toko Miyake, "How to Write Tacit Knowledge as a Pattern Language: Media Design for Spontaneous and Collaborative Communities", Procedia - Social and Behavioral Sciences,Volume 26, 2011, Pages 46–54 http://www.sciencedirect.com/science/article/pii/S1877042811023883
  • 131. Learning Patterns Project2008∼2009@Keio University
  • 132. Learning Patterns Project2008∼2009@Keio University
  • 133. Learning Patterns Project2008∼2009@Keio University
  • 134. Learning Patterns Project2008∼2009@Keio University
  • 135. Learning Patterns Project2008∼2009@Keio University
  • 136. Learning Patterns Project2008∼2009@Keio University
  • 137. Learning Patterns ProjectOct.1,2008Oct.8,2008Oct.15,2008Oct.29,2008
  • 138. Learning Patterns ProjectNov.5,2008Nov.7,2008Nov.12,2008Nov.26,2008
  • 139. Learning Patterns ProjectDec.3,2008Dec.12,2008Dec.17,2008Dec 21,2008
  • 140. Learning Patterns Project Jan.7,2009Jan.14,2008Jan.21,2008
  • 141. Learning Patterns ProjectWriting Process of the pattern “Learning by Teaching” “How to Write Tacit Knowledge As a Pattern Language: Media Design for Spontaneous and Collaborative Communities” (Takashi Iba, Mami Sakamoto, and Toko Miyake, COINs2010)
  • 142. No.15「学びのなかの遊び」 No.10「身体で覚える」 08/12/31 09/03/07 08/11/26 08/12/03 08/12/10 08/12/21 08/12/27 09/01/04 09/01/07 09/03/07 09/03/08 09/03/09 08/11/05 08/11/05 08/11/26 08/12/23 09/01/04 09/01/07 09/03/06 09/03/07 09/03/09 09/03/08井庭 井庭加藤 加藤小林 小林 下西下西 三宅三宅 花房花房 四元四元 飯田飯田 坂本坂本 No.12「言語のシャワー」 No.22「右脳と左脳のスイッチ」 09/03/11 09/01/04 09/03/10 08/11/20 08/12/17 08/12/22 09/01/07 09/03/10 09/03/11 09/03/12 09/03/07 08/12/31 09/01/04 09/03/10 08/12/20 08/12/21 08/12/21 08/12/24 09/01/05 09/03/07 09/03/08 09/03/09 09/01/02 09/03/08井庭 井庭加藤 加藤小林 小林下西 下西三宅 三宅花房 花房四元 四元飯田 飯田坂本 坂本 No.31「教えることによる学び」 No.38「断固たる決意」 08/10/31 08/11/02 08/11/01 08/11/07 08/11/09 08/11/11 08/11/12 09/03/12 09/03/12 09/03/13 08/11/07 08/12/17 08/12/21 08/12/21 08/12/27 08/12/31 09/01/07 09/03/12 09/03/12 09/03/13 井庭 井庭 加藤 加藤 小林 小林 下西 下西 三宅 三宅 花房 花房 四元 四元 飯田 飯田 坂本 坂本
  • 143. No.2「研究プロジェクト中心」No.0「学びのデザイン」 No.1「SFCマインドをつかむ」 No.3「SFCをつくる」 No.4「学びの竜巻」 09/02/07 08/12/17 08/12/17 08/12/21 09/01/04 09/01/07 09/02/09 09/02/05 09/02/07 09/02/09 09/02/09 09/02/09 09/01/04 08/12/10 08/12/21 08/12/25 09/02/07 09/02/09 09/02/09 08/10/28 08/10/28 08/10/28 09/02/11 09/02/11 08/12/10 08/12/17 09/01/06 09/02/07 09/02/09 09/02/09 井庭 08/12/31 井庭 井庭 井庭 井庭 加藤 加藤 加藤 加藤 加藤 小林 小林 小林 小林 小林 下西 下西 下西 下西 下西 三宅 三宅 三宅 三宅 三宅 花房 花房 花房 花房 花房 四元 四元 四元 四元 四元 飯田 飯田 飯田 飯田 飯田 坂本 坂本 坂本 坂本 坂本 No.5「知のワクワク!」 No.9「教わり上手になる」 No.6「研究への情熱」 No.7「まずはつかる」 No.8「「まねぶ」ことから」 09/01/04 09/03/06 08/12/10 08/12/10 08/12/17 08/12/21 08/12/27 08/12/31 09/01/07 09/02/11 09/02/11 08/11/20 08/11/24 09/01/07 09/02/11 09/02/11 09/01/04 09/03/06 09/01/04 08/11/20 08/11/22 09/01/05 09/03/06 09/03/07 09/03/09 08/10/30 08/11/01 08/11/05 08/11/05 08/11/12 08/11/12 08/11/12 08/11/12 09/03/06 09/03/07 09/03/09 08/11/20 08/12/10 08/12/21 08/12/27 08/12/31 09/01/07 09/03/06 09/03/07 09/03/09 09/01/02 09/03/07 09/03/07 井庭 井庭 井庭井庭 井庭 加藤 加藤 加藤加藤 加藤 小林 小林 小林小林 小林 下西 下西 下西下西 下西 三宅 三宅 三宅三宅 三宅 花房 花房 花房花房 花房 四元 四元 四元四元 飯田 四元 飯田 飯田飯田 坂本 飯田 坂本 坂本坂本 坂本 No.10「身体で覚える」 No.11「成長の発見」 No.12「言語のシャワー」 No.14「プロトタイピング」 No.13「アウトプットからはじまる学び」 09/03/07 09/03/07 09/01/04 08/10/31 08/11/05 08/11/05 08/11/26 08/12/23 09/01/04 09/01/07 09/03/06 09/03/07 09/03/09 09/01/04 08/12/20 08/12/21 08/12/21 08/12/24 09/01/05 09/03/07 09/03/08 09/03/09 08/11/02 08/11/05 09/01/10 09/01/12 09/03/07 09/03/08 09/03/09 08/11/05 08/11/05 08/12/23 09/01/07 09/03/06 09/03/07 09/03/09 09/01/02 09/01/02 09/03/08 09/03/08 08/12/31 09/03/07 井庭 井庭 08/11/26 08/12/03 08/12/10 08/12/21 08/12/27 09/01/04 09/01/07 09/03/07 09/03/08 09/03/09井庭 井庭 09/03/08 加藤 加藤 井庭加藤 加藤 小林 加藤 小林小林 小林 小林 下西 下西下西 下西 下西 三宅 三宅 三宅三宅 三宅 花房 花房 花房花房 花房 四元 四元 四元四元 四元 飯田 飯田 飯田飯田 飯田 坂本 坂本 坂本坂本 坂本 No.18「偶有的な出会い」 No.15「学びのなかの遊び」 No.19「フロンティアンテナ」 No.16「動きのなかで考える」 No.17「フィールドに飛び込む」 09/03/09 09/01/04 09/03/09 09/03/11 08/10/26 08/10/28 08/10/28 08/10/28 08/11/12 09/03/09 09/03/09 09/03/09 08/12/10 08/12/10 08/12/17 08/12/21 08/12/27 09/01/07 09/03/09 09/03/12 08/10/28 08/10/29 09/03/09 09/03/12 09/01/04 09/03/09 08/12/31 09/03/11 09/03/09 08/12/31 09/03/07 08/11/26 08/12/10 08/12/27 08/12/30 09/01/07 09/03/09 09/03/09 09/03/09 08/11/26 08/12/03 08/12/10 08/12/21 08/12/27 09/01/04 09/01/07 09/03/07 09/03/08 09/03/09 井庭 井庭 井庭 09/03/08 井庭 加藤井庭 加藤 加藤 加藤加藤 小林 小林 小林 小林小林 下西 下西 下西 下西下西 三宅 三宅 三宅 三宅三宅 花房 花房花房 花房 花房 四元 四元四元 四元 飯田 飯田 四元飯田 坂本 坂本 飯田 飯田坂本 坂本 坂本 No.21「隠れた関係性から学ぶ」 No.23「「鳥の眼」と「虫の眼」」 No.26「量は質を生む」 No.22「右脳と左脳のスイッチ」 No.20「広がりと掘り下げの「T字」」 09/03/11 09/03/11 09/01/04 09/03/11 08/11/23 08/12/21 08/12/25 09/01/02 09/01/05 09/03/10 09/03/11 09/03/12 09/01/04 09/03/10 09/03/11 09/03/11 08/12/17 08/12/21 09/01/07 09/03/09 09/03/12 09/03/10 08/11/20 08/12/17 08/12/22 09/01/07 09/03/10 09/03/11 09/03/12 09/03/10 09/03/10 09/01/04 09/03/09 08/12/31 09/03/10 08/12/10 08/12/17 08/12/21 08/12/27 09/01/07 09/03/10 09/03/10 09/03/12 08/10/31 08/10/31 08/11/05 08/11/08 08/11/10 09/03/10 09/03/11 09/03/12 09/03/11 09/03/10井庭 井庭 井庭 井庭 井庭加藤 加藤 加藤 加藤 加藤小林 小林 小林 小林 小林下西 下西 下西 下西 下西三宅 三宅 三宅 三宅 三宅花房 花房 花房 花房 花房四元 四元 四元 四元飯田 四元 飯田 飯田 飯田坂本 飯田 坂本 坂本 坂本 坂本No.25「自分で考える」 09/03/10 No.26「目的へのアプローチ」 No.27「捨てる勇気」 No.28「学びの共同体をつくる」 09/03/10 09/03/11 No.29「「はなす」ことでわかる」 09/03/10 09/03/10 08/11/12 09/03/10 09/03/12 09/03/11 09/03/11 08/12/21 08/12/27 09/01/07 09/03/10 09/03/10 09/03/10 09/03/11 09/03/12 09/03/10 09/03/11 09/03/10 09/03/11 09/03/11 08/11/02 08/11/05 08/11/10 08/11/12 09/03/10 09/03/12 09/03/10 09/03/11 09/03/10 井庭 井庭 08/12/03 08/12/17 08/12/21 08/12/21 08/12/27 09/01/04 09/01/07 09/03/10 09/03/11 09/03/10 09/03/12 08/11/07 08/11/26 08/12/21 08/12/21 08/12/27 08/12/31 09/01/07 09/03/10 09/03/11 09/03/12 09/03/10 井庭 09/03/10 井庭 加藤 加藤 井庭 加藤 加藤 加藤 小林 小林 小林 小林 小林 下西 下西 下西 下西 下西 三宅 三宅 三宅 三宅 三宅 花房 花房 花房 花房 花房 四元 四元 四元 四元 四元 飯田 飯田 飯田 飯田 飯田 坂本 坂本 坂本 坂本 坂本 No.31「教えることによる学び」No.30「ライバルをつくる」 No.32「外国語の普段使い」 No.33[「小さく産んで大きく育てる」 No.34「魅せる力」 09/03/11 09/0310 09/01/14 09/01/21 09/03/10 09/03/12 09/03/12 09/03/12 09/0311 08/12/10 08/12/21 09/01/04 09/03/12 08/12/27 09/01/07 09/03/12 09/03/12 09/03/13 08/11/20 08/12/24 08/12/31 09/01/06 09/03/12 09/03/13 09/0310 08/12/31 09/03/12 08/11/07 08/12/17 08/12/21 08/12/21 08/12/27 08/12/31 09/01/07 09/03/12 09/03/12 09/03/13 09/03/12 09/01/14 09/01/21 09/03/12 09/03/12 09/03/13 09/03/12 井庭 井庭 井庭 井庭 井庭 加藤 加藤 加藤 加藤 加藤 小林 小林 小林 小林 小林 下西 下西 下西 下西 下西 三宅 三宅 三宅 三宅 三宅 花房 花房 花房 花房 花房 四元 四元 四元 四元 飯田 四元 飯田 飯田 飯田 坂本 飯田 坂本 坂本 坂本 坂本 No.36「ゴール前のアクセル」 No.38「断固たる決意」 No.39「突き抜ける」 No.37「セルフプロデュース」 No.35「書き上げたは道半ば」 09/03/12 09/01/04 09/03/12 09/03/12 09/03/12 09/03/12 08/12/25 09/01/04 09/01/05 09/03/12 09/03/13 09/03/13 09/01/04 09/03/12 08/11/12 08/12/21 09/03/12 09/03/12 08/10/31 08/11/02 08/11/01 08/11/07 08/11/09 08/11/11 08/11/12 09/03/12 09/03/12 09/03/13 09/01/02 08/11/26 08/12/17 08/12/17 08/12/21 09/01/07 09/03/12 09/03/13 08/12/10 09/01/07 09/03/12 09/03/13 08/12/10 08/12/22 08/12/31 09/01/07 09/03/12 09/03/13 09/03/12 09/01/04 09/03/12 09/03/13 09/03/13 09/03/12 09/03/12 09/03/12 井庭 井庭井庭 井庭 井庭 加藤 加藤加藤 加藤 加藤小林 小林 小林 小林 小林下西 下西 下西 下西 下西三宅 三宅 三宅 三宅 三宅花房 花房 花房 花房 花房四元 四元 四元 四元 四元飯田 飯田 飯田 飯田 飯田坂本 坂本 坂本 坂本 坂本
  • 144. Holistic Pattern Mining1. Element Mining2. Visual Clustering3. Seed Making
  • 145. Presentation Patterns Project 2011@Keio University Presentation Patterns: A Pattern Language for Creative Presentations (ver. 0.60) A Pattern Language for Creative Presentations Ver. 0.60 October, 2012Presentation Patterns Project http://ppatterns.org/ Ver. 0.60 presentpatterns@sfc.keio.ac.jp Presentation Patterns Project
  • 146. Presentation Patterns Project2011@Keio University
  • 147. Presentation Patterns Project2011@Keio University
  • 148. Presentation Patterns Project2011@Keio University
  • 149. Presentation Patterns Project2011@Keio University
  • 150. Presentation Patterns Project2011@Keio University
  • 151. Presentation Patterns Project2011@Keio University
  • 152. Presentation Patterns Project2011@Keio University
  • 153. Presentation Patterns Project2011@Keio University
  • 154. Presentation Patterns Project2011@Keio University
  • 155. Presentation Patterns Project2011@Keio University
  • 156. Presentation Patterns Project2011@Keio University
  • 157. Presentation Patterns Project2011@Keio University
  • 158. Presentation Patterns Project2011@Keio University
  • 159. Presentation Patterns Project2011@Keio University
  • 160. Presentation Patterns Project2011@Keio University
  • 161. Presentation Patterns Project2011@Keio University
  • 162. Holistic Pattern Mining1. Element Mining2. Visual Clustering3. Seed Making
  • 163. Holistic Pattern Mining (Video)
  • 164. Generative Beauty ProjectSince Sep., 2011
  • 165. Holistic Pattern Mining1. Element Mining2. Visual Clustering3. Seed Making
  • 166. Frequent Advices & Questions for our pattern languages #3“What this pattern says is trivial.”We believe that all elements constituting a wholeshould be written, regardless of well-known or not.It is because the language will be used for describingexperiences in narrative and conversation.
  • 167. Holistic Approach
  • 168. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 169. Potential Domains of Pattern Languages What are potential domains wherePattern Language can be applied to?
  • 170. Potential ity of Pattern WritersWhat are the potentiality of people who can write pattern languages?
  • 171. Pattern Languages Potential ly Save the world What are significant applications ofpattern languages for people on earth?
  • 172. Japans 3.11 Earthquake & Tsunami Max 40m
  • 173. Pattern Languages for Disaster Prevention & Emergency Treatment must help people survivein the future earthquakes.
  • 174. Collaboration for True HappinessPattern Languages for folk-knowledge and values
  • 175. Re-Designing Organizational Rules,Customs, and Cultures Design = Problem Finding + Problem Solving Context Problem Finding design Problem Problem Solving Solution C. Alexander, Notes on the Synthesis of Form, Harvard University Press, 1964
  • 176. Pattern Languages Potentially Save the world What are significant applications ofpattern languages for people on earth?
  • 177. ThreeInterrelatedConcepts Pattern Language 3.0 Oral Language Holistic Approach
  • 178. Pattern Languagesare hopes for the future.
  • 179. Pattern Language 3.0Writing Pattern Languages for Human Actions Pattern Languages are hopes for the future.Takashi IbaFaculty of Policy ManagementKeio Universityhttp://twitter.com/taka_ibahttp://creativesystemslab.blogspot.jp/Invited Talk at PLoP2012 (Oct. 19,2012)

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