This document discusses how play and collaboration can improve the design process. It notes that play fosters qualities like empathy, trust, health and joy. It also cites research showing that play is critical to our ability to adapt and handle stress. The document recommends incorporating more play into work by getting people out of their comfort zones, dedicating time for individual and group idea generation, and embracing prototyping as a way to play with ideas. It argues this can help people and industries reinvent themselves as things change rapidly.
Definitions of Playand - Classifications of GameAlvaro Gonzalez
This slide I made talks about the Player Experience and how games could be classify to understand their nature. -2011 Lecture-The Game: A powerful tool
Definitions of Playand - Classifications of GameAlvaro Gonzalez
This slide I made talks about the Player Experience and how games could be classify to understand their nature. -2011 Lecture-The Game: A powerful tool
Presenter: Dov Jacobson, Managing Director, GamesThatWork
Brains are defended by formidable skulls. You try to introduce your ideas through holes in that skull. The eyes and ears give you access to the brain’s analytic mechanisms. But to reach the problem-solving brain, you must engage the human hand. Learn to design manipulatives to exercise hands-on creative practice.
Games Colonialism: Cultural Assumptions in Serious Game DesignMohini Dutta
Games are uniquely pliable systems. They can be used to generate empathy towards a situation by allowing players to inhabit parts of a topic, and contextualize the larger issue from a personalized perspective.
In leveraging games to impact environmental, social and economic issues, games are taken to a variety of unfamiliar cultures where game elements inhabit very different roles from those in the west, resulting in a new form of colonialism. In this 15 minute presentation, I elaborate on the assumptions that social impact game proponents bring to the field of games and humanitarian work and the problems that arise as a result of them.
As co-founder of a game design studio that makes games for beneficiaries of humanitarian organizations, I’m perpetually confronting the challenge of increasing popularization of games as a method of communication amid the lack of best practices for using them in these fraught arenas.
Game based learning is fast replacing the hackneyed workshop format, the core intended recipients of which are either small communal groups entrenched in folk customs and traditional belief systems, or impoverished urban communities. When constructing interactive communication tools (such as games) for such a diverse group, it is necessary to study their cultural morés and social etiquette to find common themes that can be used to encourage empathy towards the topic. In this situation games are used as metaphors to explain the topic presented, and since effective metaphors are analogous to the audience, it is important to chose efficient analogies. By choosing an analogy that is negative to that community, such as dice which are solely associated with gambling in many cultures, the reach of the game is reduced, impacting the effectiveness of the overall project goals.
A second impediment to constructing effective game-interactions on a community level is the process of project development. From experience in the humanitarian sector dealing with climate change, games are vetted by a hierarchy of scientists, project managers, and administrative staff. All of whom have a deep understanding of the core topic being represented though the games, but have completely different cultural expectations from the medium of games. As a result, the end product is finessed and tailored to satisfy a target audience that has very little in common to the end-audience.
Humanitarian organizations have an existing culture of talking down to these communities instead of talking with them. Aid constructs a hierarchy of givers and receivers, where the receiver is seen as a victim needing help, but incapable of providing any input into the process.
What steps can organizations take to overcome these challenges? What is the relevance of games to cross cultural humanitarian and social justice work given these limitations? What considerations should be taken by designers when creating these types of games?
Finding Greatness Slowly: Harsh Lessons of a Long Term Creative ProjectPeter Cardwell-Gardner
Sharing some hard lessons learnt from the first 2 years of developing my debut video game: Cadence - A Musical Playground of Beautiful Puzzles.
Some surprising truths about the nature of innovation and how to stay creative. Also a first hand account of the sting of failure and what that means.
Experience design is not about shiny new digital technology - apps, touch screens, games, beacons, the works. It is a different perspective on exhibition and museum design, and a different process as a result. My talk at the Museum Association's 2017 Moving on Up event in Edinburg, February 28, 2017.
Paideia as Paidia: From Game-Based Learning to a Life Well-PlayedSebastian Deterding
»Gamification« has sparked the imagination of many for the potential of games in education, but turned away an equal amount within the games and learning community with its disregard for the complexities of design and human motivation.
However, this talk suggests that there is a deeper reason for the negative reaction in the games and learning community: namely, that gamification really provides a distorted mirror that throws into stark relief issues in today's game-based learning at large. Conversely, that best way to advance games for learning today is to look deep into this mirror. Doing so reveals a triple agenda for the field: to expand from deploying games as interventions in systems to the gameful restructuring of systems, and from designing games to the playful reframing of situations; and to shift from the instrumentalization of play and learning to paideia as paidia.
"Understanding Gameful Design" @ Vértice "Bienal de animación, Interactividad...Elizabeth Lawley
Keynote presentation on gameful design presented 13 March 2014 at the Vértice "Bienal de animación, Interactividad y Diseño" conference held at the University of San Francisco in Quito, Ecuador.
Making a video game is already a challenge. Making a good serious game is a very hard challenge.
What do the experts say that could help me designing a good educational game? How can I influence people playing my game? How can I find a good balance between fun and learning? And what are some praiseworthy examples?
I am interested in developing executive training or professional development workshops that function as 'surprise' and 'mystery' tours and collective performance art.
I have brought a squash to the class last Friday (as a form of improvisation and surprise).
In particular, students like puzzles (the student who gets the answer first gets a dark chocolate).
If you view it as a slideshow and try to guess the answers to the puzzles, then the experience might be quite fun:)
You can find the description of this class below.
In this class that is designed as a collective performance art, we review some of the biggest names in the landscape of entertainment, creativity, and business. From space to magic, from basketball to fashion, from animation to computer games, from film music to architecture we have a trans-disciplinary tour of storytelling and creative careers. We have a series of exercises in asset creation and imagination. We have a lot of puzzles. We dream about the university of the future. However, the main actor in all of this experience (the connecting thread/anchor) is a squash.
Presenter: Dov Jacobson, Managing Director, GamesThatWork
Brains are defended by formidable skulls. You try to introduce your ideas through holes in that skull. The eyes and ears give you access to the brain’s analytic mechanisms. But to reach the problem-solving brain, you must engage the human hand. Learn to design manipulatives to exercise hands-on creative practice.
Games Colonialism: Cultural Assumptions in Serious Game DesignMohini Dutta
Games are uniquely pliable systems. They can be used to generate empathy towards a situation by allowing players to inhabit parts of a topic, and contextualize the larger issue from a personalized perspective.
In leveraging games to impact environmental, social and economic issues, games are taken to a variety of unfamiliar cultures where game elements inhabit very different roles from those in the west, resulting in a new form of colonialism. In this 15 minute presentation, I elaborate on the assumptions that social impact game proponents bring to the field of games and humanitarian work and the problems that arise as a result of them.
As co-founder of a game design studio that makes games for beneficiaries of humanitarian organizations, I’m perpetually confronting the challenge of increasing popularization of games as a method of communication amid the lack of best practices for using them in these fraught arenas.
Game based learning is fast replacing the hackneyed workshop format, the core intended recipients of which are either small communal groups entrenched in folk customs and traditional belief systems, or impoverished urban communities. When constructing interactive communication tools (such as games) for such a diverse group, it is necessary to study their cultural morés and social etiquette to find common themes that can be used to encourage empathy towards the topic. In this situation games are used as metaphors to explain the topic presented, and since effective metaphors are analogous to the audience, it is important to chose efficient analogies. By choosing an analogy that is negative to that community, such as dice which are solely associated with gambling in many cultures, the reach of the game is reduced, impacting the effectiveness of the overall project goals.
A second impediment to constructing effective game-interactions on a community level is the process of project development. From experience in the humanitarian sector dealing with climate change, games are vetted by a hierarchy of scientists, project managers, and administrative staff. All of whom have a deep understanding of the core topic being represented though the games, but have completely different cultural expectations from the medium of games. As a result, the end product is finessed and tailored to satisfy a target audience that has very little in common to the end-audience.
Humanitarian organizations have an existing culture of talking down to these communities instead of talking with them. Aid constructs a hierarchy of givers and receivers, where the receiver is seen as a victim needing help, but incapable of providing any input into the process.
What steps can organizations take to overcome these challenges? What is the relevance of games to cross cultural humanitarian and social justice work given these limitations? What considerations should be taken by designers when creating these types of games?
Finding Greatness Slowly: Harsh Lessons of a Long Term Creative ProjectPeter Cardwell-Gardner
Sharing some hard lessons learnt from the first 2 years of developing my debut video game: Cadence - A Musical Playground of Beautiful Puzzles.
Some surprising truths about the nature of innovation and how to stay creative. Also a first hand account of the sting of failure and what that means.
Experience design is not about shiny new digital technology - apps, touch screens, games, beacons, the works. It is a different perspective on exhibition and museum design, and a different process as a result. My talk at the Museum Association's 2017 Moving on Up event in Edinburg, February 28, 2017.
Paideia as Paidia: From Game-Based Learning to a Life Well-PlayedSebastian Deterding
»Gamification« has sparked the imagination of many for the potential of games in education, but turned away an equal amount within the games and learning community with its disregard for the complexities of design and human motivation.
However, this talk suggests that there is a deeper reason for the negative reaction in the games and learning community: namely, that gamification really provides a distorted mirror that throws into stark relief issues in today's game-based learning at large. Conversely, that best way to advance games for learning today is to look deep into this mirror. Doing so reveals a triple agenda for the field: to expand from deploying games as interventions in systems to the gameful restructuring of systems, and from designing games to the playful reframing of situations; and to shift from the instrumentalization of play and learning to paideia as paidia.
"Understanding Gameful Design" @ Vértice "Bienal de animación, Interactividad...Elizabeth Lawley
Keynote presentation on gameful design presented 13 March 2014 at the Vértice "Bienal de animación, Interactividad y Diseño" conference held at the University of San Francisco in Quito, Ecuador.
Making a video game is already a challenge. Making a good serious game is a very hard challenge.
What do the experts say that could help me designing a good educational game? How can I influence people playing my game? How can I find a good balance between fun and learning? And what are some praiseworthy examples?
I am interested in developing executive training or professional development workshops that function as 'surprise' and 'mystery' tours and collective performance art.
I have brought a squash to the class last Friday (as a form of improvisation and surprise).
In particular, students like puzzles (the student who gets the answer first gets a dark chocolate).
If you view it as a slideshow and try to guess the answers to the puzzles, then the experience might be quite fun:)
You can find the description of this class below.
In this class that is designed as a collective performance art, we review some of the biggest names in the landscape of entertainment, creativity, and business. From space to magic, from basketball to fashion, from animation to computer games, from film music to architecture we have a trans-disciplinary tour of storytelling and creative careers. We have a series of exercises in asset creation and imagination. We have a lot of puzzles. We dream about the university of the future. However, the main actor in all of this experience (the connecting thread/anchor) is a squash.
Similar to Play and Design Process - SXSW 2010 by Sara Summers (20)
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
7 Alternatives to Bullet Points in PowerPointAlvis Oh
So you tried all the ways to beautify your bullet points on your pitch deck but it just got way uglier. These points are supposed to be memorable and leave a lasting impression on your audience. With these tips, you'll no longer have to spend so much time thinking how you should present your pointers.
Unleash Your Inner Demon with the "Let's Summon Demons" T-Shirt. Calling all fans of dark humor and edgy fashion! The "Let's Summon Demons" t-shirt is a unique way to express yourself and turn heads.
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25. Play elicits our best qualities
…Kacie Kinzer’’s Tweenbots
100% human dependant robot:
- Straight line movement only
- Destination posted on flag
- Relies on strangers they meet
to reach their location.
35. …Antonio Damasio ’’s experiment
On average people turned over 50 cards
before pulling only from the profitable decks.
At 80 cards they could articulate
WHY they preferred them.
36. …Antonio Damasio ’’s experiment
After only 10 cards, sensors
attached to subjects palms
detected increased
conductivity.
AKA nervousness.
At 63 developed the Institute for PlayHow did Dr. Brown come to study Play? He began connecting when it WASN’T there, in his work studying homicidal men, like Charles Whitmanthe infamous University of Texas shooter.
A neuroscientist, author, and also teaches a course on creativity and innovation at Stanford.