Companies like Upworthy successfully use curiosity to drive many user behaviours, from initial visits through exploration, sign-up, engagement, learning and data entry to return visits, re-engagement, and purchase. This UXI Studio 2014 keynote walks you through the psychology of curiosity, and how to apply it to interaction and user experience design.
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.
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.
My grumpy talk on "badge measles" and the confusions, side effects and missing parts of gamification at Playful 2010, September 24, 2010 in London, Conway Hall.
At least since the first new economy, playful design has invaded the working world. Today, the offices of startups, digital agencies, and web companies like Google often look more like playgrounds than work spaces. According to a recent survey in the UK, 80% of managers believe that playful office spaces can motivate employees. On closer look, however, their playfulness often bottoms out in bright colors, round shapes -- and the proverbial slide. This talk asks what it might mean to make work environments truly playful, what effects it has on well-being -- and whether we can make people play. Presentation given at Stanford University mediaX, May 10, 2016.
Just add points? What UX can (and cannot) learn from gamesSebastian Deterding
Can game mechanics help us to make applications and websites more fun and engaging? My presentation at the UX Camp Europe 2010 on May 29 and 30 in Berlin attempted a sobering look at what user experience designers can and cannot learn from games.
Video: http://goo.gl/oKMFm // Are points and badges mere indulgences for the faithful looking for redemption in loyalty programs? In nine (and a half) theses, this talk will walk you through the history, definition, and issues of “gamification,” and point out what is worth salvaging for designers and researchers.
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.
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.
My grumpy talk on "badge measles" and the confusions, side effects and missing parts of gamification at Playful 2010, September 24, 2010 in London, Conway Hall.
At least since the first new economy, playful design has invaded the working world. Today, the offices of startups, digital agencies, and web companies like Google often look more like playgrounds than work spaces. According to a recent survey in the UK, 80% of managers believe that playful office spaces can motivate employees. On closer look, however, their playfulness often bottoms out in bright colors, round shapes -- and the proverbial slide. This talk asks what it might mean to make work environments truly playful, what effects it has on well-being -- and whether we can make people play. Presentation given at Stanford University mediaX, May 10, 2016.
Just add points? What UX can (and cannot) learn from gamesSebastian Deterding
Can game mechanics help us to make applications and websites more fun and engaging? My presentation at the UX Camp Europe 2010 on May 29 and 30 in Berlin attempted a sobering look at what user experience designers can and cannot learn from games.
Video: http://goo.gl/oKMFm // Are points and badges mere indulgences for the faithful looking for redemption in loyalty programs? In nine (and a half) theses, this talk will walk you through the history, definition, and issues of “gamification,” and point out what is worth salvaging for designers and researchers.
Google Tech Talk given on January 24, 2011 in Mountain View, CA on gamification and how to get three »missing ingredients« right: meaning, mastery, and autonomy.
It's the Autonomy, Stupid: Autonomy Experiences Between Playful Work and Work...Sebastian Deterding
A core tenet of traditional play theories is that play is voluntary. This view has been troubled by recent empirical phenomena of "instrumental play" and "playbour": instances where play is mandatory, has serious consequences attached or is done as gainful labour, such as goldfarming. Similarly, people are increasingly using game design elements in non-game contexts like work to make them more playful and engaging. This talk suggests that the conceptual troubles of playbour and gamification can be resolved by focusing on autonomy as a psychological state: how much autonomy people experience informs whether they understand and a label an activity as "work(-like)" or "play(ful)". Drawing on a qualitative interview study with participants engaging in instrumental play, the talk will tease out how social and material features of gaming and work situations support and thwart autonomy experience and thus, their understanding as "work" or "play."
Are play and work opposites? In this invited keynote at the Control Systems 2016 conference in Stockholm, I argue that we hold three common misconceptions about work, play, and motivation that have us misjudge how work may be made more playful.
Enterprise gamification is a hot new idea that has great potential for benefit (and misuse). Common misconceptions create the risk of getting it wrong. We (Rypple) share some of our lessons learned on making it work.
A brief overview on the gaming industry, the types of games we play, and how elements from game design are being used outside of the consoles in order to influence our behaviour in the real world...
FreeForm is a evening of discussion on technology, the non-traditional and cool stuff held by Saatchi & Saatchi London.
The Lens of Intrinsic Skill Atoms: A Method for Gameful DesignSebastian Deterding
Presentation at CHI 2016. The idea that game design can inspire the design of motivating, enjoyable interactive systems has a long history in human-computer interaction. It currently experiences a renaissance as gameful design, often implemented through gamification, the use of game design elements in nongame contexts. Yet there is little research-based guidance on designing gameful systems. This article therefore reviews existing methods and identifies challenges and requirements for gameful design. It introduces a gameful design method that uses skill atoms and design lenses to identify challenges inherent in a user’s goal pursuit and restructure them to afford gameplay-characteristic motivating, enjoyable experiences.
"Everything I need to know I learnt from World of Warcraft": why we might nee...Martin Oliver
Ascilite 2010 keynote
"Everything I need to know I learnt from World of Warcraft": why we might need to start asking better questions about games, simulations and virtual worlds
Like many areas of educational technology research, a lot of the work that focuses on games, simulations and virtual worlds consists of case studies that demonstrate proof of concept, enthusiastic position pieces or success stories. All of this is important: we need to know what sort of things we can use these technologies to do, so as to build a broader repertoire of teaching practices. However, this kind of focus neglects a range of other questions and issues that may prove more important in the longer term.
For example, educational research about games typically emphasises the way that playing motivates players; it ignores how successful games (such as massively multiplayer online games) often feel like work, and it also glosses over the way that bringing a game inside the curriculum changes the way that 'players' relate to it. There are also inconsistencies in the way games are thought about: the idea that they cause violence is often criticised as over-simplistic, yet the idea that they cause learning isn't. In virtual worlds, opportunities to create new identities is widespread, but questions about how this relates to our embodied relationships are rarely asked. In simulations, 'realism' is celebrated - but this means that simulations will always be second best to actual experiences, and it ignores how groups can disagree about whether something is realistic or not. Across this work, the complexity of learning and teaching seems hidden by the desire to promote the value of these technologies.
This talk will offer some examples of work that, in small ways, try to engage with these kinds of issue. Different priorities will be suggested, which invite a new kind of engagement with research and practice in this area.
TH301 - Start Thinking Like a Game Designer: An Interactive Learning ExperienceKarl Kapp
In games, players immediately take action, make meaningful decisions, and volunteer to spend more and more time finding treasures or defeating villains. Meanwhile, many corporate e-learning experiences are less than engaging. What instructional designers need to do is steal ideas, techniques, and methodologies from game designers and incorporate those ideas into our instructional design. This session will provide a model that can be followed by instructional designers as well as research-based recommendations for helping instructional designers think more like game designers. The result will be interactive and engaging instruction. This will be an intermediate-level session, and some knowledge of instructional design will be helpful. Also, bring your smartphone and devices, as you will be interacting with the content and voting on answer choices while this interactive adventure unfolds.
Google Tech Talk given on January 24, 2011 in Mountain View, CA on gamification and how to get three »missing ingredients« right: meaning, mastery, and autonomy.
It's the Autonomy, Stupid: Autonomy Experiences Between Playful Work and Work...Sebastian Deterding
A core tenet of traditional play theories is that play is voluntary. This view has been troubled by recent empirical phenomena of "instrumental play" and "playbour": instances where play is mandatory, has serious consequences attached or is done as gainful labour, such as goldfarming. Similarly, people are increasingly using game design elements in non-game contexts like work to make them more playful and engaging. This talk suggests that the conceptual troubles of playbour and gamification can be resolved by focusing on autonomy as a psychological state: how much autonomy people experience informs whether they understand and a label an activity as "work(-like)" or "play(ful)". Drawing on a qualitative interview study with participants engaging in instrumental play, the talk will tease out how social and material features of gaming and work situations support and thwart autonomy experience and thus, their understanding as "work" or "play."
Are play and work opposites? In this invited keynote at the Control Systems 2016 conference in Stockholm, I argue that we hold three common misconceptions about work, play, and motivation that have us misjudge how work may be made more playful.
Enterprise gamification is a hot new idea that has great potential for benefit (and misuse). Common misconceptions create the risk of getting it wrong. We (Rypple) share some of our lessons learned on making it work.
A brief overview on the gaming industry, the types of games we play, and how elements from game design are being used outside of the consoles in order to influence our behaviour in the real world...
FreeForm is a evening of discussion on technology, the non-traditional and cool stuff held by Saatchi & Saatchi London.
The Lens of Intrinsic Skill Atoms: A Method for Gameful DesignSebastian Deterding
Presentation at CHI 2016. The idea that game design can inspire the design of motivating, enjoyable interactive systems has a long history in human-computer interaction. It currently experiences a renaissance as gameful design, often implemented through gamification, the use of game design elements in nongame contexts. Yet there is little research-based guidance on designing gameful systems. This article therefore reviews existing methods and identifies challenges and requirements for gameful design. It introduces a gameful design method that uses skill atoms and design lenses to identify challenges inherent in a user’s goal pursuit and restructure them to afford gameplay-characteristic motivating, enjoyable experiences.
"Everything I need to know I learnt from World of Warcraft": why we might nee...Martin Oliver
Ascilite 2010 keynote
"Everything I need to know I learnt from World of Warcraft": why we might need to start asking better questions about games, simulations and virtual worlds
Like many areas of educational technology research, a lot of the work that focuses on games, simulations and virtual worlds consists of case studies that demonstrate proof of concept, enthusiastic position pieces or success stories. All of this is important: we need to know what sort of things we can use these technologies to do, so as to build a broader repertoire of teaching practices. However, this kind of focus neglects a range of other questions and issues that may prove more important in the longer term.
For example, educational research about games typically emphasises the way that playing motivates players; it ignores how successful games (such as massively multiplayer online games) often feel like work, and it also glosses over the way that bringing a game inside the curriculum changes the way that 'players' relate to it. There are also inconsistencies in the way games are thought about: the idea that they cause violence is often criticised as over-simplistic, yet the idea that they cause learning isn't. In virtual worlds, opportunities to create new identities is widespread, but questions about how this relates to our embodied relationships are rarely asked. In simulations, 'realism' is celebrated - but this means that simulations will always be second best to actual experiences, and it ignores how groups can disagree about whether something is realistic or not. Across this work, the complexity of learning and teaching seems hidden by the desire to promote the value of these technologies.
This talk will offer some examples of work that, in small ways, try to engage with these kinds of issue. Different priorities will be suggested, which invite a new kind of engagement with research and practice in this area.
TH301 - Start Thinking Like a Game Designer: An Interactive Learning ExperienceKarl Kapp
In games, players immediately take action, make meaningful decisions, and volunteer to spend more and more time finding treasures or defeating villains. Meanwhile, many corporate e-learning experiences are less than engaging. What instructional designers need to do is steal ideas, techniques, and methodologies from game designers and incorporate those ideas into our instructional design. This session will provide a model that can be followed by instructional designers as well as research-based recommendations for helping instructional designers think more like game designers. The result will be interactive and engaging instruction. This will be an intermediate-level session, and some knowledge of instructional design will be helpful. Also, bring your smartphone and devices, as you will be interacting with the content and voting on answer choices while this interactive adventure unfolds.
Some techniques, tools and tips for the Empathy phase of Design Thinking.
Content created by Stanford D.School
This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.
To view a copy of this license, visit
http://creativecommons.org/licenses/by-nc-sa/3.0/
ImagineNation LAST Generating Creative Conversations Presentation Janet Sernack
A creative conversation transfers ideas from one mind to another, it also allows you to reveal and remove all obstacles in the way of making creative ideas and inventions happen. It even allows you to see opportunities, realise possibilities and easily solves real-life, personal and business problems.
It’s not that we’ve forgotten how to hold genuine conversations. The problem is much deeper. We’ve stopped learning how to hold a genuine conversation.
The good news is we can all learn it. All this ability demands is the ability to be observant, having a core skill-set and following the four key steps in the generative discovery cycle.
Made in seattle tagfee and innovation final for sharing 06 01 2015Sarah Bird
How Moz's TAGFEE values help foster a culture of innovation.
Innovation requires risk. How do you find the personal and organizational courage to take big risks?
This talk was made by Sarah Bird and delivered to the awesome Made In Seattle Week audience on June 1, 2015.
Management Consulting - Decision Making & Thinking errorsHocein
FREE MANAGEMENT CONSULTING COURSE on www.oeconsulting.be
Decision-making
How ?
Multiple-criteria decision technique is an evaluation method in order to make rationally a choice between several alternatives on the basis of more than 1 criteria. The steps are :
List of alternatives or choices
List of important criteria required for your decision
Give a score (e.g. on 10) on each criteria for each alternative
Give a % weight to each criteria if one criteria is more important than the other (sum of criteria weight is 100%)
Multiply each score with its weight and sum up to have the total for each alternative
Rank all alternatives from high to low
Tip :
A bad result does not automatically indicate a bad decision, or vice versa (maybe external factors!)
We rely too often on emotions instead of research (but remember plain things, plain decision!)
Having an influence on decision making, don’t be easily convinced for :
Nice plausible stories that are told :
Reject the easy and obvious answers that someone comes up with. Not everything that seems plausible is true. Don’t judge outcomes without looking at underlying forces : sometimes what is presented as the root cause, is actually the consequence and vice versa. E.g. beautiful women advertising for cosmetics
We don’t detect what is absent – we see the success but what about the ‘hidden’ failures? Often success is attributed to ability, while failure is caused by external factors.
FREE MANAGEMENT CONSULTING COURSE on www.oeconsulting.be
Decision-making
How ?
Multiple-criteria decision technique is an evaluation method in order to make rationally a choice between several alternatives on the basis of more than 1 criteria. The steps are :
List of alternatives or choices
List of important criteria required for your decision
Give a score (e.g. on 10) on each criteria for each alternative
Give a % weight to each criteria if one criteria is more important than the other (sum of criteria weight is 100%)
Multiply each score with its weight and sum up to have the total for each alternative
Rank all alternatives from high to low
Tip :
A bad result does not automatically indicate a bad decision, or vice versa (maybe external factors!)
We rely too often on emotions instead of research (but remember plain things, plain decision!)
Having an influence on decision making, don’t be easily convinced for :
Nice plausible stories that are told :
Reject the easy and obvious answers that someone comes up with. Not everything that seems plausible is true. Don’t judge outcomes without looking at underlying forces : sometimes what is presented as the root cause, is actually the consequence and vice versa. E.g. beautiful women advertising for cosmetics
We don’t detect what is absent – we see the success but what about the ‘hidden’ failures? Often success is attributed to ability, while failure is caused by external factors.
Big contrasts compromises our judgement:
Big contrasts between things can be misleading : We judge something if we have something completely the opposite in front of us. We have difficulty with absolute judgments. We don’t notice small gradual changes.
When a single aspect dazzles us, it affects how we see the whole picture. E.g. a single quality that produces a positive or negative impression and that outshines everything which make the overall effect disproportionate.
We see what we want to see:
People choose numbers for a lottery thinking it makes a difference or people throw dice harder thinking it makes a difference for a high number. We identify or just invent a pattern and ‘believe in it’ without considering it first as pure chance.
We interpret new information so that our prior conclusions remain intact. E.g. reading opinions on the internet, illusion of “no pain no gain” where there is no concrete result,…
The Brain Trust: How to Get the Right People Bought Into Your Vision and Help...Trevor Boehm
How to get your community to help you with your most pressing challenges.
The Brain Trust is a step-by-step process for startups, leaders, and anyone with a vision to get something off the ground to get the smartest people they know deeply committed to what they're doing.
Use this process to build an advisory board, to help you launch a new product, or prepare for you next fundraise.
Created with love by Assemble. howweassemble.com
Game Mechanics Suck without Narrative - JacobsMelinda Jacobs
An extended version of slides from the very brief ;) presentation in the morning at Gamification Europe 2017. Will maybe upload another updated version sometime next week, with a few more notes translated onto slides. :)
Firstborn 99U Studio Session: Selling to SkepticsFirstbornNY
Most client projects start with the unenviable task of the tough sell—earning a company's trust and asking them to shun the status quo. During our 99U Studio Session we shared some of our techniques and put them to the test to help attendees learn how to get stubborn skeptics on their side.
How to design inner play in a study narrative? Eva Den Heijer
Workshop at the Serious Play Conference in Montreal July 10-12 2019 seriousplay-montreal.com UNIVERSITÉ DU QUÉBEC À MONTRÉAL /UNIVERSITY OF QUEBEC IN MONTREAL
Communication Hacks: Strategies for fostering collaboration and dealing with ...All Things Open
Communication Hacks: Strategies for fostering collaboration and dealing with conflict in open source
Presented by Nuritzi Sanchez, GitLab, Inc.
Presented at Open Source 101 2021
Abstract: During this talk, you'll learn about topics like cross-cultural collaboration, giving and receiving feedback, and active listening -- all things that are vital to the health of our open source communities.
After reading many self-help books, watching various TED Talks, and listening to a ton of podcasts, I've condensed my learnings to help you improve your communications skills, deal with conflict, and collaborate better than ever, not only in FOSS, but also everywhere else.
The power of moments - musings by James CracknellJames Cracknell
Musings on Chip and Dan Heaths book The Power of Moments. In the field of human psychology understanding a life of moments, what they mean and how we can use them to make life that little bit more engaging
Presenters:
Jessica Barnes, Smashing Ideas, Creative Director
Anna Ho, Smashing Ideas, Senior Strategiest
Teaching complex behavioral techniques through mobile applications has been around for years, yet few make a positive and lasting impact on the lives of the end-users. The creative and strategic minds behind Mindful PowersTM - a kid-first, holistic approach to building social-emotional learning through the power of play - will walk you through the intricate details of taking skills-based methodologies, such as Mindfulness and Acceptance Commitment Therapy, and the practical application of them in an inclusive and accessible digital experience that helps children build healthier relationships with life, stress, and anxiety.
Gamification in health behaviour change produces muddled results. Why? Because game design elements, behaviour change techniques, etc. are too decontextualised and underspecified to guide design implementation. Talk at the CBC 2018 conference "Behaviour Change for Health: Digital & Beyond", February 21, 2018, London.
City Games: Up and Down and Sideways on the Ladder of AbstractionSebastian Deterding
Like games and everyday life, games and cities have been intersecting in two primary ways: modelling the city in an abstract view from above, with planning games and urban simulations, and transforming people's everyday urban experiences and behaviors with playful interventions on the ground. Neither one, this talk argues, has been particularly successful in creating lasting improvements in citizen's well being. To accomplish this, we need to take game design seriously and look sideways at the messy middle between map and territory, the processes in which one is translated into the other (or not). My keynote at ISAGA 2017 in Delft, NL, July 10, 2017.
The Great Escape from the Prison House of Language: Games, Production Studies...Sebastian Deterding
My talk at the DiGRA/FDG 2016 "Why production studies? Why now?" panel, asking how production studies can answer to basic cultural and hermeneutic questions.
Progress Wars: Idle Games and the Demarcation of "Real Games"Sebastian Deterding
My talk from DiGRA FDG 2016: Analyzing idle games through the theoretical lenses of “game aesthetics” and “boundary work”, I explore how game makers intentionally or unintentionally partake in working the boundaries of “real” games.
Desperately Seeking Theory: Gamification, Theory, and the Promise of a Data/A...Sebastian Deterding
Gamification promises a new, data-driven take at a science of design: establishing what design features cause what psychological and behavioural effects. But to realise this promise, it needs theory.
In this paper from the Tampere Spring Seminar in Game Studies "Money and Games", I argue that game studies should systematically explore how economic condition afford and constrain game aesthetics.
Game Engines in Game Education: Thinking Inside the Tool Boox?Sebastian Deterding
Should apprentices of a craft master one tool, making themselves dependent on it? Or become fluent in many? Should they use pre-made parts? Or should they learn how to make everything from scratch, even if that doesn't reflect actual practice? These eternal questions of craft education have become relevant for game educators with the rise of game engines like Unity. This talk will reveal firsthand experiences and strategies used to deal with the opportunities and challenges of integrating game engines in game education. / My and Casey O'Donnell's talk at the GDC Education Summit 2016.
Joys of Absence: Emotion, Emotion Display, and Interaction Tension in Video G...Sebastian Deterding
Paper presented at Foundations of Digital Games 2015: While Erving Goffman’s work on frames has found broad adoption in game research, his sociological theory of gameplay enjoyment as “euphoric ease” has not been probed, although it is one of the few theories of gameplay enjoyment focusing what is absent in gameplay. Because spontaneous and socially demanded emotional involvement often align in gameplay, Goffman holds, it lacks the effortful self-regulation of conduct and emotion typical for everyday life. This paper presents an empirical grounding of Goffman’s theory, drawing on a qualitative interview study on social norms of emotion regulation in video game play. Data suggests that the absence of active emotional self-control may indeed be a hygiene factor of game enjoyment most strongly found in solitary gameplay, afforded by a socio-material setting licensing the display of gaming-typical emotions, and shielding form potentially disapproving onlookers.
PDF SubmissionDigital Marketing Institute in NoidaPoojaSaini954651
https://www.safalta.com/online-digital-marketing/advance-digital-marketing-training-in-noidaTop Digital Marketing Institute in Noida: Boost Your Career Fast
[3:29 am, 30/05/2024] +91 83818 43552: Safalta Digital Marketing Institute in Noida also provides advanced classes for individuals seeking to develop their expertise and skills in this field. These classes, led by industry experts with vast experience, focus on specific aspects of digital marketing such as advanced SEO strategies, sophisticated content creation techniques, and data-driven analytics.
Technoblade The Legacy of a Minecraft Legend.Techno Merch
Technoblade, born Alex on June 1, 1999, was a legendary Minecraft YouTuber known for his sharp wit and exceptional PvP skills. Starting his channel in 2013, he gained nearly 11 million subscribers. His private battle with metastatic sarcoma ended in June 2022, but his enduring legacy continues to inspire millions.
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.
Storytelling For The Web: Integrate Storytelling in your Design ProcessChiara Aliotta
In this slides I explain how I have used storytelling techniques to elevate websites and brands and create memorable user experiences. You can discover practical tips as I showcase the elements of good storytelling and its applied to some examples of diverse brands/projects..
This Stupidly Simple Trick Helped These Websites Multiply Their Clickrates: Designing for Curiosity
1. this stupidly simple trick
helped these sites multiply
their click rates
Sebastian Deterding (@dingstweets)
UXI Studio, December 15, 2014
cb
*Designing for Curiosity
Image: JosephB
*
16. Fasted growing media site in history1
6 mio. UU/m. in first 12 months1
90 mio. UU/m. in first 18 months2
79th largest US site in traffic3
3rd most fb likes/shares of any news site4
(1) Forbes, 2013 (2) Quantcast, 2013 (3) Quantcast, 2014 (4) The Whip, 2013
2012
17. Fasted growing media site in history1
6 mio. UU/m. in first 12 months1
90 mio. UU/m. in first 18 months2
79th largest US site in traffic3
3rd most fb likes/shares of any news site4
... with 7.5 articles per day.4
(1) Forbes, 2013 (2) Quantcast, 2013 (3) Quantcast, 2014 (4) The Whip, 2013
2012
35. unpredictability
Can I not reliably anticipate
the future of this?
relevance
Is the ability to anticipate this
relevant to me?
solvability
Am I able to resolve
that inability?
curiosity
unpredictable, positively relevant,
solvable, safe
safety
Is resolving this inability
dangerous?
fear
unpredictable, (un)solvable,
negatively relevant, unsafe
curiosity: a motive to approach novel stimuli
invitation
Links in the online version
43. six forms of
unpredictability
Links here, just click:
44. Curiosity
Curiosity drives us to explore actions with
potentially positively relevant outcomes we
can bring about (self-efficacy) but not fully
anticipate – if we get a promising invitation
to do so. Careful: If we feel the outcomes
might be negative or the actions unsafe, this
can stoke fear instead or in parallel.
▪ How might you make the outcome positively
relevant? How might you signal this to players
without giving it away?
▪ How might the outcome be somewhat
unanticipatable, inviting guesses to test?
▪ How might you give players confidence that they
can bring the outcome about?
▪ How might you reduce (the impression of)
potential negative consequences of taking the
action?
Instantiations: Conflict, Hide-and-hint, Novelty,
Possibility Space, Surprise, Uncertainty,
Unresolved complexity.
CU
Hide-and-hint CU
Uncertainty Novelty
CU
We are curious about novel experiences:
something potentially enjoyable we haven't
experienced yet has us wonder: "How does it
feel?" We follow a promise or surprise
signalling novelty if we feel we are able and
safe to do so.
▪ What experiences, interactions, content do
players know and expect in the given context?
▪ What haven't they experienced they might want to
know how it feels?
▪ How might you signal that the new experience
exists and is enjoyable without giving it away?
▪ Do players fear the experience might be
overwhelming, boring, or unpleasant? How might
you mitigate those fear?
Instantiations: Novel Content, Novel Interactions,
Novel Interfaces, Surprise.
We are curious about potentially positive but
uncertain outcomes. Especially when we
have a hypothesis, we want to test our bet
on "What will happen?" and "When?"
▪ How might you make the outcomes positively
relevant? How might you signal this to players?
▪ How might you vary and randomise what positive
outcomes follow an action?
▪ How might you randomise when an outcome
follows an action?
▪ How might you help the player seek and
hypothesise patterns in that randomness?
▪ How might you invite players to test their
hypotheses?
▪ How might you help players feel that they can test
hypotheses safely?
Instantiations: Action Probability, Betting, Hidden
Information, Loot Drop.
We are curious about potentially relevant
information and resources that are hinted at
but hidden. If we know about something, but
not its content, we wonder: "What is there?"
▪ What information or resources are relevant to
players at this point?
▪ How might you hide their specific content away?
▪ How might you hint at their existence?
▪ How might you signal their potential relevance?
▪ How might you help players feel that they can
follow that hint safely?
Instantiations: Cliffhanger, Fog of War, Hidden
Information, Locked Abilities, Locked Content,
Locked Items, Skill Tree, Tech Tree.
CU
Unresolved Complexity
We are curious about unclear meanings or
paths to a positively relevant outcome,
wondering: "How do I get there?"
▪ How might you make a situation positively relevant?
How might you signal this to players?
▪ How might you create a complex, non-obvious path
to or symbol within that situation?
▪ Do players feel confident they can find the path or
mearning? If not, how might you instil that
confidence?
▪ How might you offer leads that spark multiple
hypotheses for paths or meanings that players want
to test?
▪ How might you help players feel that they can
safely test these hypotheses?
Instantiations: Puzzles, Whodunnits.
CU Possibility Space
CU/AU
We are curious and feel autonomous in front
of an untested possibility space, wondering:
"What if …?" Possibility spaces emerge from
recombinable items or actions with no
prescribed goals and emergent effects that
feel unpredictable but over time, guessable
and reliably learnable.
▪ What actions and/or items might you offer to
combine?
▪ Do they produce a combinatorial explosion of
possible effects that are logical but not foreseeable
by you?
▪ How might you give players space, time, and
license to try their own combinations?
▪ How might you give openings that suggest new
combinations to try: constraints, traces of others,
random suggestions, or half-begun things?
▪ How might you make testing an untried combination
relevant – e.g. with novelty, competence, or self-expression?
▪ How might you help players feel that they can
safely test new combinations?
Instantiations: Building blocks, Editors.
Conflict CU/AR
Uncertainty We are curious and get aroused over
how a
conflict of information or interests will resolve,
wondering: "How or what will out?"
▪ What pieces of information or parties may clash in
the given context?
▪ How might you make the outcome positively
relevant? How might you signal this to players?
▪ How might you keep the end result maximally on the
edge?
▪ How might you provide and retain equally plausible
scenarios supporting each information?
Instantiations: Balancing, Dramatic Conflict,
Whodunnits.
Surprise
We feel good when our expectations are
positively broken: something novel and good
happens that we did not foresee. Such
surprises stoke curiosity whether there might
be further surprises in store, wondering: "Is
there more like this?" A first surprise can thus
become the hint in a hide-and-hint.
▪ What do players expect in this context (genre, level,
interaction, situation, plot, menu, ...)?
▪ How might you positively break these expectations:
something vastly more, better, or different?
▪ How might you first create or affirm the
expectations – and then positively break them?
▪ How might you not reveal the existence of
something positive for the player in your game until
you surprise them with it? (Think level and interface
design, but also packaging, marketing).
Instantiations: Easter Eggs, Hidden Information,
Panoramic Opening, Plot Twist.
We are curious potentially positive but uncertain outcomes.
Especially when we have a hypothesis, we
want to test our bet on "What will happen?"
and "When?"
▪ How might you make the outcomes positively
relevant? How might you signal this to players?
▪ How might you vary and randomise what positive
outcomes follow an action?
▪ How might you randomise when an outcome
follows an action?
▪ How might you help the player seek and
hypothesise patterns in that randomness?
▪ How might you invite players to test their
hypotheses?
▪ How might you help players feel that they can test
hypotheses safely?
Instantiations: Action Probability, Betting, Hidden
Information, Loot Drop.
45. Novelty
We are curious about novel experiences:
something potentially enjoyable we haven't
experienced yet has us wonder: "How does it
feel?" We follow a promise or surprise
signalling novelty if we feel we are able and
safe to do so.
▪ What experiences, interactions, content do
users
players know and expect in the given context?
▪ What haven't they experienced they might want to
know how it feels?
▪ How might you signal that the new experience
exists and is enjoyable without giving it away?
▪ Do players fear the experience might be
overwhelming, boring, or unpleasant? How might
you mitigate those fear?
Instantiations: Novel Content, Novel Interactions,
Novel Interfaces, Surprise.
CU
users
62. Surprise
We feel good when our expectations are
positively broken: something novel and good
happens that we did not foresee. Such
surprises stoke curiosity whether there might
be further surprises in store, wondering: "Is
there more like this?" A first surprise can thus
become the hint in a hide-and-hint.
▪ What do players expect in this context (genre, level,
interaction, situation, plot, menu, ...)?
▪ How might you positively break these expectations:
something vastly more, better, or different?
▪ How might you first create or affirm the
expectations – and then positively break them?
▪ How might you not reveal the existence of
something positive for the player in your game until
you surprise them with it? (Think level and interface
design, but also packaging, marketing).
Instantiations: Easter Eggs, Hidden Information,
Panoramic Opening, Plot Twist.
CU
users
user
78. how users typically see and expect newsletters to be
E-Mail address Register
We sneakily auto-sign you up for our spammy deals newsletter because our
marketing department told us to
79. how you see the kickstarter newsletter
“If it’s a secret and
that much effort, it
must be special...”
80. Hint-Hide-and-and-hint
hide
We are curious about potentially relevant
information and resources that are hinted at
but hidden. If we know about something, but
not its content, we wonder: "What is there?"
▪ What information or resources are relevant to
players at this point?
▪ How might you hide their specific content away?
▪ How might you hint at their existence?
▪ How might you signal their potential relevance?
▪ How might you help players feel that they can
follow that hint safely?
Instantiations: Cliffhanger, Fog of War, Hidden
Information, Locked Abilities, Locked Content,
Locked Items, Skill Tree, Tech Tree.
CU
users
users
97. Unresolved Complexity
We are curious about unclear meanings or
paths to a positively relevant outcome,
wondering: "What's the solution?"
▪ How might you make a situation positively relevant?
How might you signal this to players?
▪ How might you create a complex, non-obvious path
to or symbol within that situation?
▪ Do players feel confident they can find the path or
meaning? If not, how might you instil that
confidence?
▪ How might you offer leads that spark multiple
hypotheses for paths or meanings that players want
to test?
▪ How might you help players feel that they can
safely test these hypotheses?
Instantiations: Puzzles, Whodunnits.
CU
users
106. Uncertainty CU/AR
We are curious and get aroused over
potentially positive but uncertain outcomes.
Especially when we have a hypothesis, we
want to test our bet on "What will happen?"
and "When?"
▪ How might you make the outcomes positively
relevant? How might you signal this to players?
▪ How might you vary and randomise what positive
outcomes follow an action?
▪ How might you randomise when an outcome
follows an action?
▪ How might you help the player seek and
hypothesise patterns in that randomness?
▪ How might you invite players to test their
hypotheses?
▪ How might you help players feel that they can test
hypotheses safely?
Instantiations: Action Probability, Betting, Hidden
Information, Loot Drop.
112. Possibility Space
CU/AU
We are curious and feel autonomous in front
of an untested possibility space, wondering:
"What if …?" Possibility spaces arise from
recombinable items or actions with no
prescribed goals and emergent effects that
feel unpredictable but over time, guessable
and reliably learnable.
▪ What actions and/or items might you offer to
combine?
▪ Do they produce a combinatorial explosion of
effects that are logical but not foreseeable by you?
▪ How might you give players space, time, and
license to try their own combinations?
▪ How might you balance effects so that they are
neither unpredictably chaotic nor predictable?
▪ How might you give openings that suggest new
combinations to try: constraints, traces of others,
random suggestions, or half-begun things?
▪ How might you make testing an untried combination
relevant – e.g. with novelty, competence, or self-expression?
▪ How might you help players feel that they can
safely test new combinations?
Instantiations: Building blocks, Editors.
130. … that can fuel user engagement.
Attention
Positive emotional experience, brand
Exploration, first use, signup
Onboarding, learning
Engagement
Return visits, re-engagement
Social sharing
131. stoke it by inviting to a relevant, safe, solvable unpredictability
unpredictability
Can I not reliably anticipate
the future of this?
solvability
Am I able to resolve
that inability?
relevance
Is the ability to anticipate this
relevant to me?
curiosity
novel, comprehensible, positively relevant,
safe
safety
Is resolving this inability
dangerous?
fear
novel, (in)comprehensible, negatively
relevant, unsafe
invitation
138. Conflict CU/AR
We feel good when our expectations are
positively broken: something novel and good
happens that we did not foresee. Such
surprises Surprise
stoke curiosity whether there might
be further surprises in store, wondering: "Is
there more like this?" A first surprise can thus
become the hint in a hide-and-hint.
▪ What do players expect in this context (genre, level,
▪ How interaction, might you situation, positively plot, break menu, these ...)?
expectations:
▪ How might you first create or affirm the
something vastly more, better, or different?
▪ How might you not reveal the existence of
expectations – and then positively break them?
something positive for the player in your game until
Uncertainty CU/AR
you surprise them with it? (Think level and interface
design, but also packaging, marketing).
oh, and what’s with those cards?
CU/AU Curiosity
▪ Do they produce a combinatorial explosion of
effects that are logical but not foreseeable by you?
▪ How might you give players space, time, and
▪ How might you help players feel that they can test
Instantiations: Panoramic Easter Opening, Eggs, Plot Hidden Twist.
Information,
CU
We are curious and get aroused over how a
conflict of information or interests will resolve,
wondering: "How or what will out?"
▪ What the pieces given of context?
information or parties may clash in
▪ How might you make the outcome positively
relevant? How might you signal this to players?
▪ How edge?
might you keep the end result maximally on the
▪ How scenarios might you supporting provide and each retain information?
equally plausible
Instantiations: Balancing, Whodunnits.
Dramatic Conflict,
We are curious and get aroused over
potentially positive but uncertain outcomes.
Especially when we have a hypothesis, we
want to test our bet on "What will happen?"
and "When?"
▪ How might you make the outcomes positively
relevant? How might you signal this to players?
▪ How might you vary and randomise what positive
outcomes follow an action?
▪ How might you randomise when an outcome
follows an action?
▪ How might you help the player seek and
hypothesise patterns in that randomness?
▪ How might you invite players to test their
hypotheses?
hypotheses safely?
Instantiations: Action Probability, Betting, Hidden
Information, Loot Drop.
Possibility Space
We are curious and feel autonomous in front
of an untested possibility space, wondering:
"What if …?" Possibility spaces arise from
recombinable items or actions with no
prescribed goals and emergent effects that
CU
feel unpredictable but over time, guessable
and reliably learnable.
▪ What actions and/or items might you offer to
combine?
license to try their own combinations?
▪ How might you balance effects so that they are
neither unpredictably chaotic nor predictable?
▪ How might you give openings that suggest new
combinations to try: constraints, traces of others,
random suggestions, or half-begun things?
▪ How might you make testing an untried combination
relevant – e.g. with novelty, competence, or self-expression?
▪ How might you help players feel that they can
safely test new combinations?
Instantiations: Building blocks, Editors.
Curiosity drives us to explore actions with
potentially positively relevant outcomes we
can bring about (self-efficacy) but not fully
anticipate – if we get a promising invitation
to do so. Careful: If we feel the outcomes
might be negative or the actions unsafe, this
can stoke fear instead or in parallel.
▪ How might you make the outcome positively
relevant? How might you signal this to players
without giving it away?
▪ How might the outcome be somewhat
unanticipatable, inviting guesses to test?
▪ How might you give players confidence that they
can bring the outcome about?
▪ How might you reduce (the impression of)
potential negative consequences of taking the
Novelty,
Hide-and-Uncertainty,
hint, action?
Conflict, Surprise, Instantiations: Unresolved Space, complexity.
Possibility
139. Conflict CU/AR
We feel good when our expectations are
positively broken: something novel and good
happens that we did not foresee. Such
surprises Surprise
stoke curiosity whether there might
be further surprises in store, wondering: "Is
there more like this?" A first surprise can thus
become the hint in a hide-and-hint.
▪ What do players expect in this context (genre, level,
▪ How interaction, might you situation, positively plot, break menu, these ...)?
expectations:
▪ How might you first create or affirm the
something vastly more, better, or different?
▪ How might you not reveal the existence of
expectations – and then positively break them?
something positive for the player in your game until
Uncertainty CU/AR
you surprise them with it? (Think level and interface
design, but also packaging, marketing).
oh, and what’s with those cards?
CU/AU Curiosity
▪ Do they produce a combinatorial explosion of
effects that are logical but not foreseeable by you?
▪ How might you give players space, time, and
▪ How might you help players feel that they can test
Instantiations: Panoramic Easter Opening, Eggs, Plot Hidden Twist.
Information,
CU
We are curious and get aroused over how a
conflict of information or interests will resolve,
wondering: "How or what will out?"
▪ What the pieces given of context?
information or parties may clash in
▪ How might you make the outcome positively
relevant? How might you signal this to players?
▪ How edge?
might you keep the end result maximally on the
▪ How scenarios might you supporting provide and each retain information?
equally plausible
Instantiations: Balancing, Whodunnits.
Dramatic Conflict,
We are curious and get aroused over
potentially positive but uncertain outcomes.
Especially when we have a hypothesis, we
want to test our bet on "What will happen?"
and "When?"
▪ How might you make the outcomes positively
relevant? How might you signal this to players?
▪ How might you vary and randomise what positive
outcomes follow an action?
▪ How might you randomise when an outcome
follows an action?
▪ How might you help the player seek and
hypothesise patterns in that randomness?
▪ How might you invite players to test their
hypotheses?
hypotheses safely?
Instantiations: Action Probability, Betting, Hidden
Information, Loot Drop.
Possibility Space
We are curious and feel autonomous in front
of an untested possibility space, wondering:
"What if …?" Possibility spaces arise from
recombinable items or actions with no
prescribed goals and emergent effects that
CU
feel unpredictable but over time, guessable
and reliably learnable.
▪ What actions and/or items might you offer to
combine?
license to try their own combinations?
▪ How might you balance effects so that they are
neither unpredictably chaotic nor predictable?
▪ How might you give openings that suggest new
combinations to try: constraints, traces of others,
random suggestions, or half-begun things?
▪ How might you make testing an untried combination
relevant – e.g. with novelty, competence, or self-expression?
▪ How might you help players feel that they can
safely test new combinations?
Instantiations: Building blocks, Editors.
Curiosity drives us to explore actions with
potentially positively relevant outcomes we
can bring about (self-efficacy) but not fully
anticipate – if we get a promising invitation
to do so. Careful: If we feel the outcomes
might be negative or the actions unsafe, this
can stoke fear instead or in parallel.
▪ How might you make the outcome positively
relevant? How might you signal this to players
without giving it away?
▪ How might the outcome be somewhat
unanticipatable, inviting guesses to test?
▪ How might you give players confidence that they
can bring the outcome about?
▪ How might you reduce (the impression of)
potential negative consequences of taking the
Novelty,
Hide-and-Uncertainty,
hint, action?
Conflict, Surprise, Instantiations: Unresolved Space, complexity.
Possibility ask me about them after the talk ;-)
140. thank you.
@dingstweets
sebastian@codingconduct.cc
codingconduct.cc
slides at
j.mp/uxicurious
141. Conflict CU/AR
We are curious and get aroused over how a
conflict of information or interests will resolve,
wondering: "How or what will out?"
▪ What pieces of information or parties may clash in
the given context?
▪ How might you make the outcome positively
relevant? How might you signal this to players?
▪ How might you keep the end result maximally on the
edge?
▪ How might you provide and retain equally plausible
scenarios supporting each information?
Instantiations: Balancing, Dramatic Conflict,
Whodunnits.