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THE MEDIUM DOESNā€™T June 17, 2010
                    MATTER
                 Shaping the Future of Play
      Keynote: Laura Seargeant Richardson

                                    June 17, 2010




     Ā© 2010 frog design. Conļ¬dential and Proprietary.
Speaker Notes
   This 45-MINUTE presentation was given as the keynote at                Plato once said, necessity is the mother of invention. What do
   the 2010 MIT Education Arcade/Sandbox Summit. Find                     our children really need to create for themselves when we o!er
   out more about Sandbox here:                                           such a packaged, formed, curated and designed world? There is
   http://www.sandboxsummit.org                                           a consequence in removing the ā€œneed.ā€

   Note: What you are missing in this presentation: the                   Throw Down Consequence Cards:
   presentation is very participatory: attendees experienced a            1)ā€Æ In just 5 years the amount of time the average 6 ā€“ 8 year old
   demo of a ā€œpaint and playā€ turntable (Fisher Price hack by frog            spends on creative play has diminished by 1/3rd.
   technologists), smelling a scent alphabet, listening to urine          2)ā€Æ Harvard: by the time they are around 6 years old they slow
   analysis, experiencing touch, and launching a paper airplane.              down asking questions because they quickly learn that
   This pdf is 10% of the overall keynote experience.                         teachers value the right answers more than provocative
                                                                              questions.
   Find out more in my interview with Ypulse Magazine:                    3)ā€Æ Fast Company: the art of being bored is lost. They want their
   http://www.ypulse.com/ypulse-interview-laura-richardson                    fun to be quick and easy.
   -frog-design                                                           4)ā€Æ TIME: Todayā€™s students are less tolerant of ambiguity and
                                                                              have an aversion to complexity
   Title Slide: ask audience if they still have toys they played with     5)ā€Æ The Futurist: A critical challenge facing our children: their
    as children...ask one or two to describe. Mine is the ā€œanti               inability to think realistically, creatively and hopefully about
   -coloringā€ book...from the author, ā€œcoloring books cheat kids.             the future
    Passively coloring in lines instead of creating.ā€ Because of this
    book, I have spent my life trying to color outside the lines, break   Slide 8: From education to play consumption, I think we have
    barriers, and make my own rules ā€“ and thatā€™s ultimately why           ultimately created more game players than game designersā€¦
    Iā€™m a designer. Fast forward 30 yearsā€¦where are we today?             Why is this distinction important?
    Does our play call for passive ļ¬lling in or coloring outside the
    lines? Is it more like a coloring book or an anti-coloring book?      Slide 9: Players feel empowered in the game, designers are
                                                                          empowered by making the game. While players may feel
   Slide 6: In 2007 Howard wrote this, ā€œchildren less able to             capable of changing a virtual world, designers believe they are
   transform their playthingsā€... Could this be true?                     capable of changing the real world. The medium doesnā€™t
                                                                          matter. Whether itā€™s o"ine or online, we need more kids making
   Slide 7: Consider this handmade ballā€“ this wasnā€™t made in              their games designing their futures.
   Americaā€¦or Asia ā€“ rather it was made in Africa...for the African
   child play started when he had the idea to make a ball out of          Slide 10: Working at a company like frog design, surrounded by
   whatever he can ļ¬nd; often for our kids play starts when an            a design community, one thing becomes pretty apparent. We all
   existing ball is kicked.                                               want our children not simply to be designers, but to think like
                                                                          designers. And often this starts by designing their play.

Client Name       Project Name                                                            Ā© 2010 frog design. Conļ¬dential & Proprietary.         2
Speaker Notes
   Slide 11: I think this interview with Eric Zimmerman is rather      Slide 18: 1) narrowed their scope, making them quite literal
   striking. GCG: What do you like best about being a game             interpretations (chrisā€™ example of farm blocks); and
   player? EZ: A game player? Wow. I have to say that I think I like
   being a designer more than a player. Maybe that's because as a      Slide 19: 2) made them complete and often closed
   designer, you're also playing (Examples of kids creating their      environments
   own games and how powerful that can be. John DeMatteo)
                                                                       Slide 20: If we look at a simple two axis matrix showing open
   Slide 12: Several years ago when I was at M3 Design, we ran an      to closed (running horizontally) and physical to digital (running
   experiment ā€“ can we make a game player a game designer?             vertically), We can see that play started in the lower left ā€“ fairly
   What is the outcome, what skills do they need?                      open game play and interpretation. Then the industry moved
   First, we had them individually collage an ideal gameā€¦              counterclockwise more to physical and closed. We have toys,
                                                                       like Furby or a tool like a cellphone, which are moving closer to
   Slide 13: then we took them through a series of game inputs         digital, but still closed systems. Even the Wii and ipad were
                                                                       created as consumption (not creation) platforms. With the
   Slide 14: and ļ¬nally they designed their own game. Letā€™s step       advent of digital, such as video games, we still stayed closed
   into their world for a moment and see what they designedā€¦           and I would suggest weā€™ve been there for awhile. Much is a
                                                                       game or game environment deļ¬ned by someone else ā€“ we just
   Slide 15: but they didnā€™t stop thereā€¦by the end, here is the        get to play the game. As cool as webkinz is, for example, the
   game they created. A two-sided book that accompanied the            world was created by someone else entirely and you play their
   game, holes in the game board to drop them into other               games to get points for outļ¬ts they designed. As we move
   dimensions, an epic battle between man and machine, one             forward we are seeing games like Ridemakerz and Xtractaurus,
   wrong move and they would be forced to change sides ā€“ to            which bridge the physical/digital divide, but also enable
   understand another view point. Unknowingly, they had created        creators to design some aspects of their play. Both came out
   as a part of the game the very real constructs they needed as       in 2009. Where we need to be, and where we are starting to see
   designers. So, what are these constructs, what can we do to         more play is in the open and digital space ā€“ with Shidonni,
   help game players become play designers?                            Spore and Scribblenauts, we have closed environments, but
                                                                       play that is so open no one cares that someone else wrote the
   Slide 16: We need to provide them the open environments,            rules. And with Scratch, Kodu, Kerpoof and Alice, kids get to
   ļ¬‚exible tools and the opportunity to make their own rules. This     make their own games in real time. In the open digital quadrant
   in turn helps develop their design skills ā€“ which I like to call    we see LEGO, Pleo and a very recent entrant ā€“ the Spy Trackr
   ā€œsuper powers.ā€                                                     from Wild Planet, which enables kids to write their own
                                                                       applications for a remotely controlled vehicle.The sweet spot, I
   Slide 17: Originally toys were toolsā€¦like a stick, a ball, even     believe, is in the webjects space ā€“ a term coined by a frog
   LEGOS. But manufacturing has transformed these toys in two          colleague regarding the overlap between physical objects and
   signiļ¬cant ways:                                                    the web.

Client Name       Project Name                                                         Ā© 2010 frog design. Conļ¬dential & Proprietary.         3
Speaker Notes
   Slide 21: Screen 1: My colleague, Alis Cambol and I, took on the    Slide 29: How many of you remember what the periodic table
   challenge of concepting the ideal future webject ā€“ one that might   of elements looks like? Like this, right?
   embody an open environment, flexible tools, and                     How many of you also learned that there are another 450 valid
   spontaneous rule making and that had no literal                     representations of the periodic table that look nothing like
   interpretation. The result is wearable in the form of a gloved      this? How are our minds to be ļ¬‚exible when we are told there is
   sleeve. Run through tech components.                                only one way?

   Slide 22: Screen 2: It would be supported by an open                Slide 30: it means the toy is so formed that you need to hack
   ecosystem of ļ¬‚exible components                                     it to get the magic out of it. Hacking has a purpose though ā€“ it
                                                                       sets our imagination free, it answers the question, ā€œwhat if?ā€
   Slide 23-25: Screen 3 ā€“ 5: and enable various scenarios of          and in the world of post consumption and DIY crowd, hacking
   game play ā€“ like paintball, hide and seek and enhanced game         is even seen as healing.
   board play that is not bounded by time.
                                                                       Two of our amazing technologists at frog ā€“ Gregg Wygonick
   Slide 26: While role play serves an important purpose, at some      and David Wood asked the question ā€œwhat if?ā€ of a Fisher Price
   point children realize they cannot be superman. It makes me         turntable. The result is a paint and play turn table. Instead of
   incredibly sad to hear my daughter tell me she is not a hero or     playing records it plays paintingsā€¦LEGOsā€¦and anything else
   that she doesnā€™t have super powers ā€“ that is reserved for           you might have that is colored red, green or blue.
   Spiderman. When Wild Planet Toys was developing their Spy
   Game, they asked kids who they wanted to be (Spy Kids, James        Slide 31: Frank Wilson in his book The Hand describes how the
   Bond, etc.) and kids answered, ā€œI want to be me. I want to be       brain and hand are linked. New York Time article, Taking Play
   the spy.ā€ which is why their packaging shows regular kids, not a    Seriously. In it they discussed that students who hadnā€™t
   character.                                                          worked with their hands were no longer able to solve problems.
                                                                       And both NASA and Boeing will no longer hire engineers who
   Slide 27: So after leveraging my own research and the research      fail to demonstrate a history of working with their hands (ļ¬xing
   or sources of 50 others, I created a framework to demonstrate       cars, playing instruments).
   the real super powers kids need to develop. This is your chance
   to experience with some of the super powers.                        My colleague, Kate Canales, has created an entire class based
                                                                       on the idea of thinking with your hands. The kids have taken
   Slide 28: Letā€™s take the ļ¬rst one. Everyone should have a piece     apart household appliances, feel with their eyes and see with
   of paper. The goal is to see if any of you can reach the stage      their hands.
   with the paper. The idea of ļ¬‚exible thinking is probably best
   represented by the book ā€œPaper Airplane: Flight of Change.ā€
   Read excerpt.


Client Name       Project Name                                                        Ā© 2010 frog design. Conļ¬dential & Proprietary.      4
Speaker Notes
                                                                      Continued: We would get a deeper and enhanced
   Slide 32: To send the point home, I thought we all might try to    understanding of this man-made construct. It would aid in
   see with our hands. Everyone has an envelope marked with a         memory, in learning, in association, in appreciation. For the
   black 1. without looking at the object, tear open the envelope,    visually impaired, "A" which they cannot "see" (but which they
   feel your object and try to draw what you think you feel.          can sound and feel) would now have another sensorial
                                                                      element for interpretation and recognition. It would be a
                                                                      deeper way of knowing and being intimate with "A.ā€
   Slide 33: Describe analogy. Consider this soundā€¦what do you
   think you hear? Dr. Charles Sweeley found that he could better     Sir Francis Galton, known for many eminent distinctions,
   determine diseases in urine samples by hearing what his            including being the half cousin of Charles Darwin, decided to
                                                                      do a little experiment and taught himself "smell arithmetic."
   eyes could not see. Visually, we can only scan one line at a       Galton associated speciļ¬c smells with speciļ¬c numbers; - for
   time, but aurally we can hear a complete song or the 57 unique     example two whi!s of peppermint = 1 whi! of camphor - and
   instruments that may make up the song.                             claimed that he could add and subtract quite well with
   This has also been done for DNA.                                   imaginary scents, but that multiplication was too di#cult.ā€

                                                                      Slide 39 : This is my daughterā€™s paintingā€¦and this is what a
   Slide 34 and 35: Games as framework, Scientiļ¬c American            color painting sounds like (play clip). Lottolab studio is using
   article, 2010. mold for micro-ļ¬‚uidics work, such as stem cell      its Synaesthetic software to enable users to create and control
   research. Made micro ļ¬‚uidics chips directly from shrinky dink
                                                                      an orchestras with colour -which we call 'colour scores'. The
   plastic.
                                                                      'mapping' between notes and colour is also predeļ¬ned by the
                                                                      user. The basis of our workshops is the patterns we see and
   Slide 36 and 37: Crayola glasses - thinking about math and         hear and the possibility to create a never previously
   english di!erently. What FAMPS should do is let us combine         experienced relationship between them.
   powers ā€“ insight combination. Itā€™s in the multi-dimensional that
   we learn.
                                                                      Slide 41: Yawns Are Yellow is a story I co-wrote with my
                                                                      daughter. It meant to introduce synaesthesia to kids, but to
   Slide 38:
   First, a simple experimentā€¦Everyone close your eyes.               also help them see di!erently. What if there is more than one
   Can you imagine what the letter A looks like in your mind?         right answers/ What if there is more than one way to see?
   can you hear the sound A makes in your head?
   Can you imagine how A feels in your hand?                          Slide 42: Read Excerpt: ā€œAnd yawns, oh yawns, they were
   Can you smell A?
                                                                      yellow. She loved to see someone yawn. Can you yawn right
   Why doesn't "A" have a smell associated with it, just like a       now? Her fatherā€™s yawn was the deep golden color of marigold
   visualization, shape, or sound? There's no reason actually. We     ļ¬‚owers. Her motherā€™s was the light yellow of lemon drops. Her
   just haven't considered it yet. As a matter of fact, as humans     teacher, Ms. Nuttenbutter, had the lightest yellow of all ā€“ like
   we never forget a scent. What would we get from a scent
   alphabet, even if its unique to each of us?                        squinting into the bright sun and seeing just the rays.
                                                                      Sometimes, Charlotte would try to yawn just to see the yellow
                                                                      mist it made. ā€œ


Client Name       Project Name                                                       Ā© 2010 frog design. Conļ¬dential & Proprietary.      5
June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
players > designers


Client Name    Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   8
ā€œ[Game players] are people who
       believe they are individually
       capable of changing the worldā€¦

       The only problem is they believe
       they are capable of changing
       virtual worlds and not the real
       world.ā€
                             Jane McConigal, game designer & futurist


Client Name   Project Name              Ā© 2010 frog design. Conļ¬dential & Proprietary.   9
What do you like best about being
a game player?

ā€œA game player? Wow. I have to say
 that I think I like being a designer
 more than a player. Maybe thatā€™s
 because as a designer, youā€™re also
                                                                  June 17, 2010

 playing.ā€
                       Eric Zimmerman, game designer
                                  Author, Rules of Play


                                   Ā© 2010 frog design. Conļ¬dential and Proprietary.
                                     Photo Credit: Vincent Lam, M3 Design
What do you like best about being
a game player?

ā€œA game player? Wow. I have to say
 that I think I like being a designer
 more than a player. Maybe thatā€™s
 because as a designer, youā€™re also
                                                                  June 17, 2010

 playing.ā€
                       Eric Zimmerman, game designer
                                  Author, Rules of Play


                                   Ā© 2010 frog design. Conļ¬dential and Proprietary.
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.          12
                                                   Photo Credit: Vincent Lam, M3 Design
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.          13
                                                   Photo Credit: Vincent Lam, M3 Design
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.          14
                                                   Photo Credit: Vincent Lam, M3 Design
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.          15
                                                   Photo Credit: Vincent Lam, M3 Design
environments                 tools                                      rules




                               design skills
                             ā€œsuper powersā€


Client Name   Project Name                Ā© 2010 frog design. Conļ¬dential & Proprietary.   16
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   17
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   18
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   19
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   20
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   21
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   22
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   23
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   24
Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   25
June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Morph:
       Flexible Sight




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
  Photo Credit: igniteseattle.com
Morph:
       Flexible Sight




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Manipulate:
              Hacking




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Move:
                                                    Body Thinking




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary. Kate Canales
                                                         Photo Credit:                     31
Move:
                                                    Body Thinking




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary. Kate Canales
                                                         Photo Credit:                     32
What do you hear?                          Stretch:
                                           Analogy




                                                   June 17, 2010




                    Ā© 2010 frog design. Conļ¬dential and Proprietary.
Stretch:
                                                                         Analogy




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.    34
Stretch:
                                                                         Analogy




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.    35
Combine:
               Dimension




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Combine:
               Dimension




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Combine:
                                                                   Synthesis




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   38
Combine:
                Combine:
               Synthesis
                Synthesis




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Combine:
                  Synthesis




                               June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Yawns
                              Are
                             Yellow
Client Name   Project Name        Ā© 2010 frog design. Conļ¬dential & Proprietary.   41
June 17, 2010




Ā© 2010 frog design. Conļ¬dential and Proprietary.
Play is the greatest natural
       resource in our creative economy.

       Letā€™s help kids make more.




Client Name   Project Name   Ā© 2010 frog design. Conļ¬dential & Proprietary.   43

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Future Of Play - Keynote MIT 2010 - Sandbox Summit

  • 1. THE MEDIUM DOESNā€™T June 17, 2010 MATTER Shaping the Future of Play Keynote: Laura Seargeant Richardson June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 2. Speaker Notes This 45-MINUTE presentation was given as the keynote at Plato once said, necessity is the mother of invention. What do the 2010 MIT Education Arcade/Sandbox Summit. Find our children really need to create for themselves when we o!er out more about Sandbox here: such a packaged, formed, curated and designed world? There is http://www.sandboxsummit.org a consequence in removing the ā€œneed.ā€ Note: What you are missing in this presentation: the Throw Down Consequence Cards: presentation is very participatory: attendees experienced a 1)ā€Æ In just 5 years the amount of time the average 6 ā€“ 8 year old demo of a ā€œpaint and playā€ turntable (Fisher Price hack by frog spends on creative play has diminished by 1/3rd. technologists), smelling a scent alphabet, listening to urine 2)ā€Æ Harvard: by the time they are around 6 years old they slow analysis, experiencing touch, and launching a paper airplane. down asking questions because they quickly learn that This pdf is 10% of the overall keynote experience. teachers value the right answers more than provocative questions. Find out more in my interview with Ypulse Magazine: 3)ā€Æ Fast Company: the art of being bored is lost. They want their http://www.ypulse.com/ypulse-interview-laura-richardson fun to be quick and easy. -frog-design 4)ā€Æ TIME: Todayā€™s students are less tolerant of ambiguity and have an aversion to complexity Title Slide: ask audience if they still have toys they played with 5)ā€Æ The Futurist: A critical challenge facing our children: their as children...ask one or two to describe. Mine is the ā€œanti inability to think realistically, creatively and hopefully about -coloringā€ book...from the author, ā€œcoloring books cheat kids. the future Passively coloring in lines instead of creating.ā€ Because of this book, I have spent my life trying to color outside the lines, break Slide 8: From education to play consumption, I think we have barriers, and make my own rules ā€“ and thatā€™s ultimately why ultimately created more game players than game designersā€¦ Iā€™m a designer. Fast forward 30 yearsā€¦where are we today? Why is this distinction important? Does our play call for passive ļ¬lling in or coloring outside the lines? Is it more like a coloring book or an anti-coloring book? Slide 9: Players feel empowered in the game, designers are empowered by making the game. While players may feel Slide 6: In 2007 Howard wrote this, ā€œchildren less able to capable of changing a virtual world, designers believe they are transform their playthingsā€... Could this be true? capable of changing the real world. The medium doesnā€™t matter. Whether itā€™s o"ine or online, we need more kids making Slide 7: Consider this handmade ballā€“ this wasnā€™t made in their games designing their futures. Americaā€¦or Asia ā€“ rather it was made in Africa...for the African child play started when he had the idea to make a ball out of Slide 10: Working at a company like frog design, surrounded by whatever he can ļ¬nd; often for our kids play starts when an a design community, one thing becomes pretty apparent. We all existing ball is kicked. want our children not simply to be designers, but to think like designers. And often this starts by designing their play. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 2
  • 3. Speaker Notes Slide 11: I think this interview with Eric Zimmerman is rather Slide 18: 1) narrowed their scope, making them quite literal striking. GCG: What do you like best about being a game interpretations (chrisā€™ example of farm blocks); and player? EZ: A game player? Wow. I have to say that I think I like being a designer more than a player. Maybe that's because as a Slide 19: 2) made them complete and often closed designer, you're also playing (Examples of kids creating their environments own games and how powerful that can be. John DeMatteo) Slide 20: If we look at a simple two axis matrix showing open Slide 12: Several years ago when I was at M3 Design, we ran an to closed (running horizontally) and physical to digital (running experiment ā€“ can we make a game player a game designer? vertically), We can see that play started in the lower left ā€“ fairly What is the outcome, what skills do they need? open game play and interpretation. Then the industry moved First, we had them individually collage an ideal gameā€¦ counterclockwise more to physical and closed. We have toys, like Furby or a tool like a cellphone, which are moving closer to Slide 13: then we took them through a series of game inputs digital, but still closed systems. Even the Wii and ipad were created as consumption (not creation) platforms. With the Slide 14: and ļ¬nally they designed their own game. Letā€™s step advent of digital, such as video games, we still stayed closed into their world for a moment and see what they designedā€¦ and I would suggest weā€™ve been there for awhile. Much is a game or game environment deļ¬ned by someone else ā€“ we just Slide 15: but they didnā€™t stop thereā€¦by the end, here is the get to play the game. As cool as webkinz is, for example, the game they created. A two-sided book that accompanied the world was created by someone else entirely and you play their game, holes in the game board to drop them into other games to get points for outļ¬ts they designed. As we move dimensions, an epic battle between man and machine, one forward we are seeing games like Ridemakerz and Xtractaurus, wrong move and they would be forced to change sides ā€“ to which bridge the physical/digital divide, but also enable understand another view point. Unknowingly, they had created creators to design some aspects of their play. Both came out as a part of the game the very real constructs they needed as in 2009. Where we need to be, and where we are starting to see designers. So, what are these constructs, what can we do to more play is in the open and digital space ā€“ with Shidonni, help game players become play designers? Spore and Scribblenauts, we have closed environments, but play that is so open no one cares that someone else wrote the Slide 16: We need to provide them the open environments, rules. And with Scratch, Kodu, Kerpoof and Alice, kids get to ļ¬‚exible tools and the opportunity to make their own rules. This make their own games in real time. In the open digital quadrant in turn helps develop their design skills ā€“ which I like to call we see LEGO, Pleo and a very recent entrant ā€“ the Spy Trackr ā€œsuper powers.ā€ from Wild Planet, which enables kids to write their own applications for a remotely controlled vehicle.The sweet spot, I Slide 17: Originally toys were toolsā€¦like a stick, a ball, even believe, is in the webjects space ā€“ a term coined by a frog LEGOS. But manufacturing has transformed these toys in two colleague regarding the overlap between physical objects and signiļ¬cant ways: the web. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 3
  • 4. Speaker Notes Slide 21: Screen 1: My colleague, Alis Cambol and I, took on the Slide 29: How many of you remember what the periodic table challenge of concepting the ideal future webject ā€“ one that might of elements looks like? Like this, right? embody an open environment, flexible tools, and How many of you also learned that there are another 450 valid spontaneous rule making and that had no literal representations of the periodic table that look nothing like interpretation. The result is wearable in the form of a gloved this? How are our minds to be ļ¬‚exible when we are told there is sleeve. Run through tech components. only one way? Slide 22: Screen 2: It would be supported by an open Slide 30: it means the toy is so formed that you need to hack ecosystem of ļ¬‚exible components it to get the magic out of it. Hacking has a purpose though ā€“ it sets our imagination free, it answers the question, ā€œwhat if?ā€ Slide 23-25: Screen 3 ā€“ 5: and enable various scenarios of and in the world of post consumption and DIY crowd, hacking game play ā€“ like paintball, hide and seek and enhanced game is even seen as healing. board play that is not bounded by time. Two of our amazing technologists at frog ā€“ Gregg Wygonick Slide 26: While role play serves an important purpose, at some and David Wood asked the question ā€œwhat if?ā€ of a Fisher Price point children realize they cannot be superman. It makes me turntable. The result is a paint and play turn table. Instead of incredibly sad to hear my daughter tell me she is not a hero or playing records it plays paintingsā€¦LEGOsā€¦and anything else that she doesnā€™t have super powers ā€“ that is reserved for you might have that is colored red, green or blue. Spiderman. When Wild Planet Toys was developing their Spy Game, they asked kids who they wanted to be (Spy Kids, James Slide 31: Frank Wilson in his book The Hand describes how the Bond, etc.) and kids answered, ā€œI want to be me. I want to be brain and hand are linked. New York Time article, Taking Play the spy.ā€ which is why their packaging shows regular kids, not a Seriously. In it they discussed that students who hadnā€™t character. worked with their hands were no longer able to solve problems. And both NASA and Boeing will no longer hire engineers who Slide 27: So after leveraging my own research and the research fail to demonstrate a history of working with their hands (ļ¬xing or sources of 50 others, I created a framework to demonstrate cars, playing instruments). the real super powers kids need to develop. This is your chance to experience with some of the super powers. My colleague, Kate Canales, has created an entire class based on the idea of thinking with your hands. The kids have taken Slide 28: Letā€™s take the ļ¬rst one. Everyone should have a piece apart household appliances, feel with their eyes and see with of paper. The goal is to see if any of you can reach the stage their hands. with the paper. The idea of ļ¬‚exible thinking is probably best represented by the book ā€œPaper Airplane: Flight of Change.ā€ Read excerpt. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 4
  • 5. Speaker Notes Continued: We would get a deeper and enhanced Slide 32: To send the point home, I thought we all might try to understanding of this man-made construct. It would aid in see with our hands. Everyone has an envelope marked with a memory, in learning, in association, in appreciation. For the black 1. without looking at the object, tear open the envelope, visually impaired, "A" which they cannot "see" (but which they feel your object and try to draw what you think you feel. can sound and feel) would now have another sensorial element for interpretation and recognition. It would be a deeper way of knowing and being intimate with "A.ā€ Slide 33: Describe analogy. Consider this soundā€¦what do you think you hear? Dr. Charles Sweeley found that he could better Sir Francis Galton, known for many eminent distinctions, determine diseases in urine samples by hearing what his including being the half cousin of Charles Darwin, decided to do a little experiment and taught himself "smell arithmetic." eyes could not see. Visually, we can only scan one line at a Galton associated speciļ¬c smells with speciļ¬c numbers; - for time, but aurally we can hear a complete song or the 57 unique example two whi!s of peppermint = 1 whi! of camphor - and instruments that may make up the song. claimed that he could add and subtract quite well with This has also been done for DNA. imaginary scents, but that multiplication was too di#cult.ā€ Slide 39 : This is my daughterā€™s paintingā€¦and this is what a Slide 34 and 35: Games as framework, Scientiļ¬c American color painting sounds like (play clip). Lottolab studio is using article, 2010. mold for micro-ļ¬‚uidics work, such as stem cell its Synaesthetic software to enable users to create and control research. Made micro ļ¬‚uidics chips directly from shrinky dink an orchestras with colour -which we call 'colour scores'. The plastic. 'mapping' between notes and colour is also predeļ¬ned by the user. The basis of our workshops is the patterns we see and Slide 36 and 37: Crayola glasses - thinking about math and hear and the possibility to create a never previously english di!erently. What FAMPS should do is let us combine experienced relationship between them. powers ā€“ insight combination. Itā€™s in the multi-dimensional that we learn. Slide 41: Yawns Are Yellow is a story I co-wrote with my daughter. It meant to introduce synaesthesia to kids, but to Slide 38: First, a simple experimentā€¦Everyone close your eyes. also help them see di!erently. What if there is more than one Can you imagine what the letter A looks like in your mind? right answers/ What if there is more than one way to see? can you hear the sound A makes in your head? Can you imagine how A feels in your hand? Slide 42: Read Excerpt: ā€œAnd yawns, oh yawns, they were Can you smell A? yellow. She loved to see someone yawn. Can you yawn right Why doesn't "A" have a smell associated with it, just like a now? Her fatherā€™s yawn was the deep golden color of marigold visualization, shape, or sound? There's no reason actually. We ļ¬‚owers. Her motherā€™s was the light yellow of lemon drops. Her just haven't considered it yet. As a matter of fact, as humans teacher, Ms. Nuttenbutter, had the lightest yellow of all ā€“ like we never forget a scent. What would we get from a scent alphabet, even if its unique to each of us? squinting into the bright sun and seeing just the rays. Sometimes, Charlotte would try to yawn just to see the yellow mist it made. ā€œ Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 5
  • 6. June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 7. June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 8. players > designers Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 8
  • 9. ā€œ[Game players] are people who believe they are individually capable of changing the worldā€¦ The only problem is they believe they are capable of changing virtual worlds and not the real world.ā€ Jane McConigal, game designer & futurist Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 9
  • 10. What do you like best about being a game player? ā€œA game player? Wow. I have to say that I think I like being a designer more than a player. Maybe thatā€™s because as a designer, youā€™re also June 17, 2010 playing.ā€ Eric Zimmerman, game designer Author, Rules of Play Ā© 2010 frog design. Conļ¬dential and Proprietary. Photo Credit: Vincent Lam, M3 Design
  • 11. What do you like best about being a game player? ā€œA game player? Wow. I have to say that I think I like being a designer more than a player. Maybe thatā€™s because as a designer, youā€™re also June 17, 2010 playing.ā€ Eric Zimmerman, game designer Author, Rules of Play Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 12. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 12 Photo Credit: Vincent Lam, M3 Design
  • 13. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 13 Photo Credit: Vincent Lam, M3 Design
  • 14. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 14 Photo Credit: Vincent Lam, M3 Design
  • 15. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 15 Photo Credit: Vincent Lam, M3 Design
  • 16. environments tools rules design skills ā€œsuper powersā€ Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 16
  • 17. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 17
  • 18. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 18
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  • 20. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 20
  • 21. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 21
  • 22. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 22
  • 23. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 23
  • 24. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 24
  • 25. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 25
  • 26. June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 27. June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 28. Morph: Flexible Sight June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary. Photo Credit: igniteseattle.com
  • 29. Morph: Flexible Sight June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 30. Manipulate: Hacking June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 31. Move: Body Thinking Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. Kate Canales Photo Credit: 31
  • 32. Move: Body Thinking Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. Kate Canales Photo Credit: 32
  • 33. What do you hear? Stretch: Analogy June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 34. Stretch: Analogy Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 34
  • 35. Stretch: Analogy Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 35
  • 36. Combine: Dimension June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 37. Combine: Dimension June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 38. Combine: Synthesis Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 38
  • 39. Combine: Combine: Synthesis Synthesis June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 40. Combine: Synthesis June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 41. Yawns Are Yellow Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 41
  • 42. June 17, 2010 Ā© 2010 frog design. Conļ¬dential and Proprietary.
  • 43. Play is the greatest natural resource in our creative economy. Letā€™s help kids make more. Client Name Project Name Ā© 2010 frog design. Conļ¬dential & Proprietary. 43