The document details a workshop on gamification, aiming to integrate existing research and identify new research opportunities in the field. It discusses various topics like game design elements, cultural influences on gamification, player types, and motivational affordances, along with outlines of planned sessions and discussions. Additionally, it highlights specific presentations and discussions on the application of gamification in diverse contexts, including energy conservation and workplace engagement.

1. CHI 2011Workshop
Gamification
S. Deterding, D. Dixon, L. Nacke, R. Khaled, K. O‘Hara
Vancouver, May 7, 2011
c b n

2. Hashtag
#gamichi

3. Gamification

4. Workshop Outset Goals
Outset
• Rich but disconnected body of existing research
• Mass-market proliferation of gameified
applications
Goals
• Stocktaking and integration of existing research
• Identification of new research opportunities
(offered by mass-market applications)

5. Workshop Questions
• What is the current state of research, and how to
integrate it?
• Which existing approaches are well-suited to study
gamification?
• Do gamified applications feature specific or novel,
unresearched characteristics?
• What happens when game design elements are
transferred into non-game contexts?
• Which promising (new) research topics and data
sources do gamified applications provide?

6. What is this »gamification« thing?
Whole
Elements
»The use of game design
elements in non-game
Serious Games
Game-based tech
contexts«
Serious Gaming
• Games, not play
GWAP
Gamification
• Elements, not whole
Game
games
• Design, not technology
Play
or practices
• Digital non-digital
Playful interaction
• Non-game contexts, not
specific

7. Who are these people?
• Lennart Nacke
• Rilla Khaled
• Dan Dixon
• Sebastian Deterding
• Kenton O’Hara
• (Miguel Sicart)

8. Game Design Building Blocks
Lennart Nacke
• What are formal core game elements?
– Rewards
– Challenge
– Progress
– Theme
• With what elements can we gamify HCI applications
(Experimental tasks)?

9. Thoughts on Gamification and Culture
Rilla Khaled
• current gamification design strategies do not make
sense in many cultural contexts
• e.g. Janteloven in Scandinavia is about not standing out
• how to make sense of gamification in cultural
contexts?
• cultural values matter: gamification blurs boundaries
with the real world
• culture and games share common conceptual ground
• people‘s background culture does influence people‘s
interpretation of games – how can we harness this in
design?
• gamification is somewhat subordinated to games: need
to satisfy two literacies

10. Types of player types
Dan Dixon
• Bartle (1996)
4 types of players in MUDs
• Yee (2005)
3 main and 10 subcomponents
in MMORPGS
• Klug and Schell (2006)
9 player types
• Jackson et al (2009)
8 orientations
in Adventure Rock
• Canossa Drachen (2009)
3 types of behaviour
in Tomb Raider: Underworld
• Kallio et al (2010)
9 reasons to play
• Commonalities
Achievement,
Competition,
Socialization

11. Situated Motivational Affordances
Sebastian Deterding
Game
Motivation
Social Context
Intrinsic
(frames)
• Competence
• Autonomy
• Relatedness
Artifact
(patterns, affordances)
Extrinsic
• RQ: How are situational and artifactual autonomy support in games and
gamified applications related to intrinsic motivation and the experience of
‘play’?
• Method: Interviews, video ethnography, experiment
• Theory: Frame Analysis (Goffman), SDT (Ryan, Deci), motivational affordances
(Zhang)

12. Agenda: Morning
9.00–9.20
Introduction
9.20–10.15
Papers I
10.15–10.30
Coffee break
10.35–11.35
Papers II
11.35–11.45
Industry perspective
11.45–12.15
Identification of emerging topics
12.15–13.15
Lunch

13. Agenda: Afternoon
13.15–15.30
World Café (with 15 min break)
15.30–15.45
Coffee break
15.45–17.30
Presentation and general discussion
17.30–17.45
Wrapup
17.45–18.15
Demos
19.30
Dinner at Cardero‘s

14. Game rules
1. Each player belongs to one of four teams: red, yellow,
blue, green.
2. Each player is dealt one creativity card.
3. Each time a player makes a remark that uses the card,
she scores a point for her team. She does so by
announcing it to the table host.
4. Between rounds, players may swap cards within their
team.
5. The team with the most points at the end wins.
6. Please return the cards at the end of the workshop.

15. World Café
1. There are four rounds with 45 minutes each. Each table has a topic and host.
2. Choose the table that most interests you, keeping participants per table
roughly equal.
3. Note ideas on the table cloth. At the end of each round, the table host will
summarize results on the cloth.
4. At the end of each round,
• switch to a table you haven‘t been to yet,
• create a new one with a new topic if you find at least four participants (you‘ll be
the first host),
• close a table if everyone agrees
5. The previous table host now presents the results of the past round and then
hands her role over to a new host of the new round.
6. For the final round, again choose the table that most interests you.

16. World Café summary
Please summarize the results as follows:
• What is agreed on?
• What is contentious? How might it be
resolved?
• What is open or unknown? How might it
be answered?

17. Workshop summary
• What have we already done?
• What should happen next?
• How would we do that?
• What will you do next?

18. Thank you
Sebastian Deterding
Dan Dixon
Lennart E. Nacke
Rilla Khaled
Kenron O‘Hara
s.deterding@hans-bredow-
dan.dixon@uwe.ac.uk
lennart.nacke@acm.org
rikh@itu.dk
rikh@itu.dk
institut.de

19. Presentations
1. Antin Churchill: Badges in Social Media: A 11. Inbar et al: Driving the Scoreboard: Motivating
Social Psychological Perspective
Eco-Driving Through In-Car Gaming
2. Brewer et al.: Lights Off. Game On. The Kukui 12. Kukkaniemi et al.: Play Society Research
Cup: A Dorm Energy Competition
Project
3. Cheng et al.: Finding Moments of Play at Work
13. Laschke Hassenzahl: Mayor or Patron? The
Difference Between a Badge and a Meaningful
4. Cheung: Consciousness in Gameplay
Story
5. Choe: Roleplaying gamification to encourage 14. Lee: What could media art learn from recent
social interactions at parties
experimental games?
6. Ahmet Cramer: Gamification and Location- 15. Müller: Gamification and Exertion: Using
Sharing: Some Emerging Conflicts
Gaming to Facilitate the Investment of Physical
Effort
7. Diakopoulos: Design Challenges in Playable Data
16. Nikkila et al: Playing in Taskville: Designing a
8. Gerling: Exploring the Potential of Gamification social game for the workplace
among Frail Elderly
17. Narasimhan: The Gamification of Television: Is
9. Hoonhout Meerbek: Brainstorm Triggers: game there life beyond badges?
characteristics as input in ideation
18. Reeves, Cummings Anderson: Leveraging
10. Huotari Hamari: “Gamification” from the the Engagement of Games to Change Energy
perspective of service marketing
Behavior
19. Paharia: Bunchball.com

20. Badges in Social Media:
A Social Psychological Perspective
Judd Antin and
Elizabeth F. Churchill
Internet Experiences
Group
Yahoo! Research
{jantin, echu}@yahoo-inc.com
@juddantin, @xeeliz
Yahoo! Presentation, Confidential 1 5/5/2011

21. This is Not a New Idea

22. The Social Purposes
of Badges

23. Goal Setting

24. Instruction Shepherding
Instruction Shepherding

25. Reputation
Reputation

26. Status Affirmation

27. Group Identification
Group Identification

28. Thanks
Judd Antin
Elizabeth F. Churchill
Internet Experiences Group
Yahoo! Research
{jantin, echu}@yahoo-inc.com
@juddantin, @xeeliz
You earned the
“You Earned a Badge!”
badge!

29. Lights Off. Game On.
The Kukui Cup:
A Dorm Energy Competition
Robert Brewer, George Lee, Yongwen Xu, Caterina
Desiato, Michelle Katchuck, and Philip Johnson
Collaborative Software Development Laboratory
Dept of Information and Computer Sciences
University of Hawaii at Manoa
http://csdl.ics.hawaii.edu/
(1)

30. Motivation
Many energy challenges
• Environmental impacts
• Peak oil
• Energy security
Our relationship with energy must change
Energy conservation
• Behavior can be major driver
Energy literacy
(2)

31. Question
How can we obtain sustained,
positive behavioral changes with
respect to energy usage?
(3)

32. The Kukui Cup
A “next generation” dorm energy competition
• Real-time energy data
• Behavior change tools
• Energy literacy “baked in”
Built for reusability
• Open source systems: WattDepot Makahiki
Inaugural competition
• October 2011, 3 weeks long
• 4 residence halls
• 1000 first-year students
(4)

33. Engagement
How do we get students to participate?
• Prizes
• Hype
• Gamification
Two parallel competitions
• Energy conservation
• Kukui Nut points
Side games
• Energy goal game
• Raffle game
(5)

34. Open Issues
“Onboarding”
• Our primary focus so far
• Early in-lab evaluations positive
Keeping things going
• How do we keep the “masters” interested?
• Developing 2nd level of interaction
After the competition ends
• How to support top players?
• Assist for next year’s Kukui Cup
(6)

35. Finding Moments of
Play at Work
Li-Te Cheng Joan DiMicco
Sadat Shami John Patterson
Casey Dugan Steven Rohall
Michael Muller Andrew Sempere
Werner Geyer
Center for Social Software
IBM Research

36. Summary
• When are appropriate moments of
play for gamification in the enterprise?
• Single player gamification impacts individual
employee’s work-based or spare time
• Multiplayer gamification impacts team time,
social norms, corporate culture
• Examined five past projects at IBM

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38. flickr: julianlim http://www.flickr.com/photos/julianlim/4598412264/

39. Gifford Cheung,
The Information School / dub Group
University of Washington, Seattle

40. Assertion
A clear theoretical understanding of
how players make moves in a gaming
context will provide a framework for
understanding the impact of
game elements in non-gaming
contexts.

41. a Knowledge-based view of action
(Giddens, 1984)

42. 3 kinds relationship between
action and knowledge
discursive: explainable weighed chess move
practical: habitual, verbally-unexpressed turn order, checking into 4square
unconscious: inhibited rationale

43. dimensions of game media
1 Presence: 2 Readiness: 3 Adversity:
(explainable/focused) (habitual/practical)
Where is the line
between discursive and
practical?
discursive: explainable weighed chess move
practical: habitual, verbally-unexpressed turn order, checking into 4square
unconscious: inhibited rationale
See also: Winograd Flores, 1987

44. applied: finding a desired balance
between game and non-game
1 Presence: 2 Readiness: 3 Adversity:
(explainable/focused) (habitual/practical)
Where is the line
between discursive and
practical?
Do the game elements What habitual Taking the context
direct attention rhythm together as a whole,
away from is promoted by different elements of
the desired activities the medium the experience alter the
of non-game for the game adversity experienced
elements? (e.g. 4square by the players. When
(e.g. driving vs. checkins) adversity is high, is this
eco-gaming feedback) and how is that aided the ideal challenge for
or disrupted by the gamification?
environment?

45. Future directions
Discussing the applicability of these dimensions
is an interesting challenge. Both for
understanding game elements and designing
them.
Further discussion of alternate theories of
action, additional dimensions of games is
welcome!

46. Roleplaying gamification to
encourage
social interactions at parties
Sungwon P. Choe
Network Computing Lab
KAIST, Korea

47. AWE Wine Party
Yeah! In
It’s a Daejeon,
networking Korea…
party.
Yeah! In Daejeon,
Korea

48. What A Party Host Wants
So, a friendly
He wants it to atmosphere and
be successful. enjoyable interactions,
right?

49. Party Host Concerns Making sure
I don’t DJ
too loud…
Overdrinking, … and that
fighting….
there’s
enough
wine
Prevent and Resolve Social Prevent and Resolve Logistical
Problems Problems
I don’t know
anybody
here…
Help People Socialize

50. Party Behaviors
They
observed Some are more
some social than
socializing others….
behaviors

51. More Social Behaviors
My friend here
studies in the
…and are same field…
We found having an
a common involved
interest… conversation
…
Deep Talker “Matchmaker”
My friends
here also like
salsa dancing…
Bridger

52. Party Behaviors
Some are less
social!
Yeah, and…

53. Less Social Behaviors
I guess I’ll
walk over
here…
I don’t know
anybody
here…
Wallflower Wanderer
Who should I
talk to next?
Hit-and-runner

54. Initial Game Design
So they can
encourage …with
“more social” gamification!
behaviors…

55. Initial Game Design
…and win a
Yeah, you
could
complete a
deep talker
quest..

56. Current Work
Well, there are
How far have 3 stages…
they gotten?

57. To notify the
Current Work
host of
wallflowers and
They asked us to wanderers…
wear these
sensor badges
Stage 1: Collecting
Analyzing Data
Stage 2: Party Host App
Deep Talking
Matchmaking
…and guests
who might
Stage 3: Gamification App need help!

58. Gamification and Location-sharing
some emerging social conflicts
Presenter: Zeynep Ahmet
Junior researcher @ Mobile Life Centre,
Mobile eco-systems, Service distribution models,
Location-sharing services, Research-in-the-large.
Games
zeynep@mobilelifecentre.org
Henriette Cramer
Post-doc researcher @ Mobile Life Centre,
@hsmcramer
Mobile apps, Location-based services, Bots
Autonomous ‘things’, Social Computing,
Research-in-the-large
henriette@mobilelifecentre.org

59. Location-sharing check-ins
A check-in
- Manual pairing with semantic ‘venues’
- Mix between private public
- Potentially very large audiences

60. As in Barkhuus et al., 2008: Brown et al., 2008, Tang et al., 2010,
Consolvo, 2005 many more location-sharing studies:
Utilitarian uses:
easing coordination, lightweight
communication, serendipitous meet-ups
Social- and identity-driven uses:
sharing lifestyle, events and sharing interesting
information, self-presentation.
But there’s more!

61. Gamification
points, badges, mayorships
individual social achievements
social: competition, ownership mayorship battles

62. share life events
check out the locals
‘play’
express who you are
inform
(un)plan
‘where was I?’ meet-ups voyeurism
build your identity share your opinion
‘where was that?’
‘own’ a place pass the time
recommend a venue
get a discount
Gamification elements have to co-exist with other motivators
If conflicts are inevitable, make the most of them!

63. More info?
mobilelifecentre.org
mobile-20.blogspot.com
henriettecramer.com

64. Score: 50,000 Level: 12
DESIGN CHALLENGES IN PLAYABLE DATA
Nicholas A. Diakopoulos, Ph.D.
Rutgers University, School of Communication and Information

65. GAME-Y INFOGRAPHIC CONCEPT
Mechanics
Answering ?s
Retrieve Value
Guessing
Anomalies
Firing
Range
Aiming
Filter
Managing Resources
Sort
Cluster
Design Elements
Correlate
Goals
Extremes
Rules
Distribution
Scores / Rewards
Competition
Advancement

66. AN EXAMPLE: SALUBRIOUS NATION

67. CHALLENGE AND BALANCE FOR DYNAMIC DATA
• Does the game break if data is updated, incomplete?
• Different data can change difficulty.
• How to make game designs adaptable?

68. COORDINATES
Nick Diakopoulos
Twitter: @ndiakopoulos
Email: nicholas.diakopoulos@gmail.com
Web: http://www.nickdiakopoulos.com
http://www.salubriousnation.com
http://sm.rutgers.edu/vox

69. CHI 2011 Workshop on Gamification
Kathrin Gerling, M.Sc.
Entertainment Computing Group, University of Duisburg-Essen
Interaction Lab, University of Saskatchewan
kathrin.gerling@acm.org

70. • Demographic development in western societies leads to an
increased group of (frail) elderly persons [8]
• Research results suggest positive effects of digital games on
cognitive, emotional and physical well-being of elderly [1, 6]
• Game elements and games have successfully been integrated
into physical therapy and cognitive training, e.g. [1, 7]
Further exploration of the augmentation of routine tasks and
leisure activities through gamification
Examination of challenges arising from the characteristics of
the target audience, e.g. age-related impairments

71. • Augmentation of regular tasks
‐ Motivating users to remain active,
participate in therapy, ...
‐ Competition with peers is an
important factor
• Re-creating inaccessible real-
world experiences
• Gamification for social
interaction
‐ Fostering relationships between
elderly persons
‐ Re-connecting different generations

72. • Impact of age-related changes and impairments [3, 5]
• Lack of gaming experience among today‘s elderly
‐ No domain knowledge, no common ground in digital gaming
‐ Often extensive board and card gaming experience
Gamification approaches cannot benefit from gaming literacy
• Creation of rewarding experiences
‐ Importance of meaningful play, personal development
‐ High level of usability and accessibility necessary
• Workload and computer literacy of nursing staff
Access barriers have to be reduced to allow elderly persons to
engage in playful activities

74. Brainstorm Triggers: game
characteristics as input in ideation
Jettie Hoonhout and Bernt Meerbeek
Philips Research
May 7, 2011

75. Concept development at Philips Research:
some examples
Philips Research, May 7, 2011

76. Research work around games: some examples
amBX Entertaible
StoryToy SplashBall
Philips Research, May 7, 2011

77. UX input early on in the development
• Problem description:
– User experience (i.e., affective aspects) increasingly important in
product development
– Many evaluation tools, rather few early stage tools
– How to incorporate UX input early on?
• Possible approach:
– Games are ultimate user experience, strong affective appeal
– Can game elements be used for consumer electronics?
– Why not use game application rules as triggers in brainstorms…
• E.g.: perceived progress, clear goals, curiosityexploration, competition
Philips Research, May 7, 2011 4

78. Robot vacuum cleaner case
• Example brainstorm idea used in
concepts: robot vacuum cleaner
shows in a fun way that it is putting
extra effort in cleaning a very dirty
spot (also well-liked in subsequent
evaluation by consumers)
• Learnings regarding brainstorm
triggers:
– Appears to result in different type
of ideas (more playful) compared
to “normal” brainstorms
– Not all triggers easy to work with
adapt process
– Not all triggers seem suitable for
consumer electronics…
Philips Research, May 7, 2011 5

80. “Gamification” from the
perspective of service marketing
CHI 2011, Gamification Workshop
Kai Huotari
Juho Hamari
Helsinki Institute of Information Technology HIIT

81. Emergence of service marketing
Classical marketing theory is based on the exchange of physical goods
and cannot provide a sufficient understanding on services.
Vargo Lusch (2004) launched the term service-dominant (S-D) logic for
marketing and proclaimed that the service approach should replace the
classical marketing theory.
Value-in-use approach helps explain the ubiquitous applicability of the
service logic and the profound difference between the traditional, goods-
dominant logic and the new service-dominant logic.
In traditional marketing theory, value is considered to be created during the
production process by the company and to be embedded in the product.
Service marketing literature sees the customer always participating in
the production process as the value is generated only once the
customer uses the service or the good.

82. Service, service system
and service package
Vargo and Lusch (2004) define service as “the application of specialized
competences (knowledge and skills), through deeds, processes, and
performances for the benefit of another entity or the entity itself”. Thus, any
intentional act - no matter how small - that helps an entity can be considered
a service.
“Service system is an arrangements of resources (including people,
technology, information, etc.) connected to other systems by value
propositions”. (Spohrer et al., 2008)
Service package (Grönroos, 2007) helps firms manage bundled services
or service systems. The basic service package consists of the core service,
enabling services and enhancing services. Enabling services are
required for the offering of the core service while enhancing services support
the offering of the core service and thus increase its value or differentiates it
from the services of the competitors.

83. Games as service systems
Salen Zimmerman (2004): “Game is a system in which players engage in
an artificial conflict, defined by rules, that result in a quantifiable outcome”.
Cook (2006): “Game mechanics are rule based systems / simulations that
facilitate and encourage a user to explore and learn the properties of their
possibility space through the use of feedback mechanisms.”
Looked through the service marketing literature described above,
game mechanics can be seen as services and games as service
systems.

84. A Proposed definition for
gamification
Gamification is a form of service packaging where a core service is
enhanced by a rules-based service system that provides feedback and
interaction mechanisms to the user with an aim to facilitate and support the
users’ overall value creation.

85. Thank you!
Question/comment?
Contact:
kai.huotari@hiit.fi
juho.hamari@hiit.fi

86. ECODRIVING
Ohad Inbar Omer Tsimhoni
Noam Tractinsky Thomas Seder
Ben Gurion University General Motors
CHI2011 Gamification Workshop

87. ECODRIVING
Eco Driving
Eco-driving is a win-win proposition for:
 Individuals, who can benefit from reduced fuel consumption.
 Society, through reduced emissions.
CHI2011 Gamification Workshop

88. ECODRIVING
Existing Designs
Chevrolet
Volt
Ford’s
EcoGuide
Kia
Soul
Honda
Insight
CHI2011 Gamification Workshop

89. ECODRIVING
Gamifying Driving
“When we observed hybrid drivers, we found they
were going for high scores, a gaming behavior that
has never existed in cars before.”
- Steve Bishop, IDEO
CHI2011 Gamification Workshop

90. ECODRIVING
Proposed Framework
Public
Eco-­‐driver
of
Your
name
the
day
on
a
variable
award
message
sign
Internal
External
In-­‐car
Permit
to
use
messages
carpool
lane
Private
CHI2011 Gamification Workshop

91. ECODRIVING
Example
Public + External: Your name on a variable message sign
Public
Your
name
Eco-­‐driver
of
on
a
variable
the
day
message
award
sign
Internal
External
Permit
to
In-­‐car
use
carpool
messages
lane
Private
CHI2011 Gamification Workshop

92. ECODRIVING
Future Research
1. Employ ethnographic methods to study the actual
interaction of drivers with existing eco-driving interfaces.
2. Study the effects of ‘tangible’ (monetary-like) rewards on
drivers’ attitudes. Public
3. Explore the effects of social Eco-­‐driver
of
Your
name
on
a
variable
the
day
message
award
interaction and social networks sign
Internal
External
on the relationship dimension. In-­‐car
Permit
to
use
carpool
messages
lane
Private
CHI2011 Gamification Workshop

93. ECODRIVING
Ohad Inbar
ohad@ohadinbar.com
CHI2011 Gamification Workshop

94. Play
Society
CHI
Gamifica+on
Workshop
8.5.2011

95. Play
Society
Project
Structure
Playfulness
Hypothesis
Model
Playfulness
Development
Proto
design
and
Synthesis
Development
Playful
Experiments
Valida+on
Events
Collec3on
Analysis
More
Experiments
2011
2012-­‐2013
Design
Recommenda+ons

96. Playfulica+on
and
Gamifica+on
• Playfulica+on
are
aligned
topics,
but
not
the
same.
• Strict
differen+a+on
is
not
necessarily
feasible
• BoQoms
up
conceptualiza+on
of
playfulness
• Iden+fy
real
playful
events
(long
list)
⇒
Form
clusters
⇒
Elaborate
clusters
structural
founda+ons
• Theore+cal
founda+ons
are
based
on
the
PLEX
work
(see
for
example
Korhonen
et
al
DPPI
2009)

97. Mayor or patron?
The difference between a badge
and a meaningful story.
Matthias Laschke//Marc Hassenzahl
Folkwang University of the Arts

98. Mayor or patron?
The story
It is a beautiful day. Eva plans visiting
her favorite pub the “zweibar” .
She strolls to the “zweibar”
.

99. Mayor or patron?
The story
While Eva’s mind is already in the
“zweibar” Foursquare offers Sarah a
,
300 'Explorer' badge.

100. Mayor or patron?
The story
While Eva’s mind is already in the
“zweibar” Foursquare offers Sarah a
,
300 'Explorer' badge.
She also strolls to
the “zweibar”.

101. Mayor or patron?
The story
Eva thinks about the nice atmosphere
and her preferred waitress Lisa.

102. Mayor or patron?
The story
Sarah thinks about getting the 300
‘Explorer’ badge.

103. Both arrive at the same time. While Eva’s mind is set on pleasant anticipation, Sarah
still thinks about her badge.

104. Mayor or patron?
The story
As expected, Eva’s bar-experience is
really good. Lisa is on duty and many
other good friends are there.
She feels rewarded by the situation
in itself.

105. Mayor or patron?
The story
Sarah feels a bit left alone. It’ s
definitely not her first time in a bar, but
the “zweibar” is new to her.
Could Foursquare offers something
beyond a badge?

106. Mayor or patron?
The story
It could…
Explore all
locations in
the bar. One
could be your
favorite place.

107. Mayor or patron?
The story
Explore all
locations in
the bar. One
could be your
favorite place.

108. Mayor or patron?
The story
Explore all
locations in
the bar. One
could be your
favorite place.

109. Talk to a
stranger and
ask him/her
to coffee.

110. Ask for the
first name of
the staff. They
will be glad.

111. Mayor or patron?
The story
Try to take a
seat next to a
nice person.
Don’t hesitate!

112. Mayor or patron?
The story
Finally, Sarah gets a touch of Eva’s good
bar-experiences. She will maybe come
back. With or without a offered badge?
Her visit could be now filled with
meaningful stories and experiences.

113. Mayor or patron?
The story
Instead of simple extrinsic rewarding,
Try to take a
seat next to a
Explore all
locations in the
gamification systems should offer, help
nice person.
Don’t hesitate!
bar. One could
be your favorite
place.
and improve likeliness of worthwhile
experiences.
Try to take a Talk to a Ask for the first
seat next to a stranger and name of the
nice person. ask him/her staff. They will
Don’t hesitate! to coffee. be glad.

114. What could media art learn from
recent experimental games?
Hyun-Jean Lee
The Graduate School of Communication and Arts
Yonsei University
Seoul, Republic of Korea
hyunjean@yonsei.ac.kr

115. My Background…
Interactive
Fine Art Digital Media
Media Art
Painting, Video, Installation Art Computer-based Theory and Practice
Interactive Installation in Digital Media
→ What is the meaning of “interactivity” ?
→ Why and how interactive experiences can be perceived differently in interactive
media art work from fine art work?

116. Art as Experience: Interactive Engagement
“A work of art is an individualized participating experience (…)
that are imaginatively evoked, summoned, assembled, and integrated are embodied
in material existence that here and now interacts with the self””
– Dewey, Art as Experience, 1984

117. Physical and Perceptual Interactivity
in Camera-Screen Interface
The basic model of feedback loop
In the camera-screen interface, the simultaneous reception and projection of an image
between the camera and monitor with the human body centered
in this camera-monitor encapsulation.

118. Physical and Perceptual Interactivity
in Camera-Screen Interface
A physical feedback loop

119. Physical and Perceptual Interactivity
in Camera-Screen Interface
A physical feedback loop

120. Physical and Perceptual Interactivity
in Computational Interactive Systems
An electronic feedback loop

121. Physical and Perceptual Interactivity
in Computational Interactive Systems
A code-level feedback loop

122. Physical and Perceptual Interactivity
in Computational Interactive Systems
A psychological feedback loop

123. Critical Distance for Self-Reflection
As the camera and the monitor in the artwork encapsulate the interactor's body and mind
in an instant feedback loop, the interactor becomes a part of the interface mechanism
and responds to the artwork system.
This kind of direct mirroring experience in interactive screen-based media
artworks hardly allows the viewer the critical distance or time needed for self-reflection.
Therefore, in media art experience, the critical distance or time needed for self-reflection
in the course of interaction needs to be greatly considered.
And the interactive mechanism based on computational closed feedback system
needs to be approached more philosophically and aesthetically.

124. Currently I am …
Teaching Graduate Students in Media Art major ...
Teaching “Game Design and Culture” for Undergraduates …

125. What Could Media Art Learn from
Recent Experimental Games?
Casual Persuasive News Pervasive
… Game Game game Game
The diverse approaches in experimental game practice and research becomes
useful references to enrich interactive experience.

126. What Could Media Art Learn from
Recent Experimental Games?
The Wide and
Sophisticated Critical and
Creative Use of
Interactivity Aesthetic Attitudes
Technologies
Persuasive Game Persuasive Game Pervasive Game
Newsgame Newsgame Casual Game
For the sophisticated and reflective interaction

127. Sophisticated Interactivity
The methodical and rhetorical approach and understanding to interactivity
in game research and practice helps to improve the approach of interactivity in media art.
• Procedural rhetoric:
Tighter symbolic coupling between user actions and procedural representation
can be produced from the video games.
• Play:
The possibility space refers to the myriad configurations
that the player might construct to see the ways the processes
inscribed in the system work.
Thus, while interacting with the system, the player literally
fills the gap between subjectivity and the game processes and
performs a great deal of mental synthesis.
• Selective modeling in abstraction: Persuasive Games: The Expressive
Power of Videogames, Ian Bogost
The videogame’s method of selectively modeling appropriate
elements of that world in “abstraction” creates the “empathetic and dialectical engagement”
and “vivid experience” of interaction.

128. Critical and Aesthetic Attitudes
In “Newsgames” and “Persuasive games”
The critical and aesthetic attitudes recently presented in game design practice are also useful
to enhance the media art interaction to a more critical and reflective level
from the cultural and societal sides.
September 12th Madrid Cut throat Capitalism
Newsgames, Ian Bogost
Simon Ferrari and
Bobby Schweizer
Everyday the Same Dream McDonald game

129. Critical and Aesthetic Attitudes
“Pervasive games”
“Pervasive games” also use the strategy to look at the community and neighborhood
with critical insights and reconstruct them as a game environment.
By using their bodily engagement in the play,
in these games players explore how to creatively combine the physical with the digital,
life with play, virtual with real.
These processes also show critical and reflective approaches to think of their subjectivity
in the context of play and design at a societal and aesthetical stance.
Persuasive Games: Theory and Design,
Markus Montola, Jaakko Stenros and Annika Waern

130. The Wide and Creative Use of Technologies
The wide and rich use of media technologies in games helps to think of the inter-
relationship between media and technology for creative media art practice.
• The pervasive games widely use the pervasive technologies and ubiquitous computing.
• The novel interface technologies such as Nintendo Wii and Microsoft Xbox Kinect,
involve intuitive user interactions.
Nintendo Wii A Casual Revolution,
Jesper Juul
MS Xbox Kinect

131. Conclusion
As game design and research have culturally, technologically and theoretically widened,
its new possibilities and critical interaction methodologies become to influence
on other domains of research and practice, particularly on interactive media art.
The game strategies to involve the sophisticated and reflective interaction
from the players deliver useful lessons to be referred.

132. Thank You !
“Aesthetic experience is imaginative. (..)
Imagination is the only gateway through which these meanings can find
their way into a present interaction. ”
- Dewey, Art as Experience, 1984

145. playing in taskville
designing a social game for the workplace
{shawn.nikkila, silvan.linn, hari.sundaram,
aisling.kelliher}@asu.edu

146. taskville motivation
In today’s workplace, diverse and distributed teams
from around the world are working on complex
problems.

147. taskville motivation

148. taskville motivation
http://www.google.com/intl/en/jobs/locations/

149. taskville motivation
http://research.microsoft.com/en‐us/labs/default.aspx

150. taskville motivation
How can individual workers be more aware of
activities in the larger enterprise through
gamification?

151. taskville motivation
https://bugs.launchpad.net/ubuntu

152. taskville motivation
How can we give feedback to repetitive and
mundane tasks in a fun way through gamification?

153. introducing taskville

154. user feedback
• What is a task?
• Intra-group vs. inter-group competition
• Privacy

155. future directions
• How can we gamify communication between
family members over long distances?
• How can we gamify compliance in the medical
domain?

156. Applied Research Center
The Gamification of Television
Is there life beyond badges?
Nitya Narasimhan
Motorola Mobility, Inc.
Gamification Workshop
CHI 2011
May 7, 2011
MOTOROLA and the Stylized M Logo are trademarks or registered trademarks of Motorola Trademark Holdings, LLC.
All other trademarks are the property of their respective owners. © 2011 Motorola Mobility, Inc. All rights reserved.

157. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 2
We need new ways to track engage audiences
• Television viewing is now at
user’s convenience
– Time (when)
– Place (where)
– Device (how)
– Source (from whom)
• Increasing Fragmentation
– Of Audience (targeting)
– Of Attention (engaging)
• Can Gamification Help?
© 2011 Motorola Mobility, Inc 3/8/2011

158. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 3
But ‘Engagement’ has many facets
Pre- Synched- Post-
Viewing Viewing Viewing
Behaviors Behaviors Behaviors
Will the user watch Is the user watching Is the user invested in
the show? the show? the show?
Degree of interest Degree of attention Degree of follow-up
(live vs. DVR, (full vs. partial, (search, learn, share,
alone vs. social) like vs. bored) buy, record)
© 2011 Motorola Mobility, Inc 3/8/2011

159. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 4
The state of Gamification NOW: a focus on loyalty
Synched- Post-
Viewing Viewing
Behaviors Behaviors
Focus on Social Focus on Entertainment
Rewards for watching the show Rewards for further engagement
© 2011 Motorola Mobility, Inc 3/8/2011

160. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 5
Opportunities for Gamification NEXT
Make it
LAST
Utility
Make it
MEANINGFUL
Make it The
EFFORTLESS Sustainability
The Challenge
Analytics
The Attention Challenge
Challenge
Difficulty
© 2011 Motorola Mobility, Inc 3/8/2011

161. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 6
#1: The Attention Challenge in Synched Viewing
• Television involves lean-
back consumption (passive)
• Social TV apps create lean-
forward interaction (active)
– Add to user effort (context
and activity inputs)
– Take user attention away
from onscreen content
Can gamification make the interactions “fun” without taking
viewers’ attention away from content?
© 2011 Motorola Mobility, Inc 3/8/2011

162. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 7
#1: Opportunity for “Attention-Preserving” IO Toolkits
http://www.designboom.com/history/numberonefoamhand/07.jpg
Digitize Fun Interactions, Sense Ambient context
Can gamification make the interactions “fun” without taking
viewers’ attention away from content?
© 2011 Motorola Mobility, Inc 3/8/2011

163. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 8
#2: The Analytics Challenge: Growth but Sparsity
• Social TV apps today focus
on presence (check-in),
sentiment (like) comment
• No incentive (or support) for
multiple repeat events
– Coarser granularity (like a
show not a segment)
– Undifferentiated intents
(early vs. late check-in)
Can gamification persuade users to check-in “more” or perform
more “diverse” activities (like, dislike) to differentiate intent?
© 2011 Motorola Mobility, Inc 3/8/2011

164. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 9
#2: Follow the verbs: Create/Reward more activities
• Also impacts rewards and
incentives schemes (more
earn/burn options)
Can gamification persuade users to check-in “more” or perform
more “diverse” activities (like, dislike)
© 2011 Motorola Mobility, Inc 3/8/2011

165. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 10
#3: The Sustainability Challenge: Beyond ‘novelty’
• Understand individual viewer
motivations and evolve
‘game elements’ to support
or surprise them
• The problem: everyone
watches television. There is
no clear set of ‘player types’ http://www.slideshare.net/amyjokim
/gamification-101-design-the-player-journey
Can gamification platforms evolve to suit different player types?
What are the player types for social television?
© 2011 Motorola Mobility, Inc 3/8/2011

166. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 11
#3: Games With a Purpose: An MVC Approach
• Same model. Different views
for different players.
– Games for Analytics
– Games for Search
– Advergames
• Example: Want to get
viewers to “tag” video?
– Drinking game (fun) http://appadvice.com/appnn/2011/02/drinking-game-app-combines-beer-
media-viewing
– Advisory tags (altruism)
Can gamification platforms evolve to suit different player types?
What are the player types for social television?
© 2011 Motorola Mobility, Inc 3/8/2011

167. APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP Page 12
Summary
Can gamification make the interactions “fun” without taking
viewers’ attention away from content?
Can gamification persuade users to check-in “more” or perform
more “diverse” activities (like, dislike) to differentiate intent?
Can gamification platforms evolve to suit different player types?
What are the player types for social television?
© 2011 Motorola Mobility, Inc 3/8/2011

168. H-STAR
HUMAN SCIENCES AND TECHNOLOGIES
ADVANCED RESEARCH INSTITUTE
Leveraging the Engagement of Games
to Change Energy Behavior
Byron Reeves
Stanford University
reeves@stanford.edu
James J. Cummings Dante Anderson
Stanford University Seriosity, Inc.
cummingj@stanford.edu dante@seriosity.com

169. The Opportunity
 A 10% reduction in energy use will lower the quantity
of fossil fuels consumed by an amount roughly equal
to a 25-fold increase in wind plus solar power, or a
doubling of nuclear power (Sweeney, 2007).
 This opportunity involves behavior change
 The engine of behavior change is information

170. The problem
 Billions spent gathering information
 Smart sensors and infrastructure
 Tons of information
 But energy information is dull
 Complex UI’s
 Problems are distant
 Feedback separated from behavior
 “What I get” not obvious (even $)

171. 5/6/11 4

172. The idea
 Use successful ingredients from games:
 Self representation; feedback; community connections,
ranks and levels; teams; virtual economies; compelling
narrative
 Make a multiplayer game that connects home
smart meters with game play
 Track energy use
 Feedback displays in game
 Links to social networks and mobile devices

173. Background
 New gamer generation
 Dominant genre of new media
 New “science of fun”
 New research about why games work
 Games work in other serious contexts
 Health, business productivity, learning
 Increasing attention to serious games
 IBM, State Farm, PG, Microsoft, military, security,
education, health
+

174. Guiding concepts
 Mix real and virtual
 House and real behavior as joystick for game play
 Build professional games introduced at scale
 ARPAe
 Seriosity, Inc.
 Fit current game trends
 Farmville
 Facebook
 Stay true to game sensibilities!
 Even though the game goals are serious
 Fun, multi-period, rewards, teams, feedback…

175. 8

180. 2

181. 3

182. 4

183. 5

184. 6

185. 7

186. 8

188. 10

190. The
Problem
Site/App
Traffic
User
Op)miza)on
Op)miza)on
“A1ract”
Content
“Influence”
Op)miza)on
“Sa)sfy”
12

191. Bunchball
gives
business
owners
real-­‐9me
influence
over
consumer
behavior
through
Gamifica8on.
13

192. Gamifica8on
Sa8sfies
Human
Needs
Self
Reward
Status
Achievement
Expression
Compe88on
Altruism
Points
Levels
Challenges
Virtual
Goods
Leaderboards
GiFing
Charity
14

193. 2
Kinds
of
“Gamifica8on”
Content
Content
Game
Game
15

194. gamifica8on.com