Invited Talk "Pattern Language 3.0: Writing Pattern Languages for Human Actions"at PLoP2012

Pattern Language 3.0Writing Pattern Languages for Human Actions

Invited Talk at PLoP2012 (Oct. 19,2012)

Takashi IbaFaculty of Policy ManagementKeio Universityhttp://twitter.com/taka_ibahttp://creativesystemslab.blogspot.jp/

http://twitter.com/#!/takashiiba


http://creativesystemslab.blogspot.org


What are potential domains where Pattern Language can be applied to?

Potential DomainsLanguagesPatternof

What are the potentiality of people who can write pattern languages?

PotentialWriters

ityPatternof

What are significant applications of pattern languages for people on earth?

PotentialSave the world

lyLanguagesPattern

• born in 1974 in Japan

• a trans-disciplinary researcher, creator, and writer, explores the nature of creativity and works to build media to nurture it.

• an associate professor at the Faculty of Policy Management, Keio University, Japan

• Ph.D. in Media and Governance, from Keio University in 2003.

• a visiting scholar at the MIT Center for Collective Intelligence, 2009-2010

Takashi Iba

井庭崇

abstraction

communicationimagination

systems theorymodeling

&pattern languages

Takashi Iba, "A Study on Simulating Economies and Societies as Evolutionary Complex Systems,"

Ph.D Thesis for Graduate School of Media and Governance, Keio University, 2003

PlatBox Simulator, a software platform to execute andto analyze the agent-based social simulations.

Component Builder, a tool for designing the modelcomponent plugged into PlatBox Simulator.

Conceptual Model Simulation Model

Source Code of Simulation

ComponentBuilder

JavaCompiler

Executable Program of Simulation

Model-Driven Development

Model-Driven Development of Agent-Based Social Simulations

PlatBox Model Framework

Action Parts

Modeling withUML diagram

+

We define 281 action parts.

All actions in social simulation can be described with combining these parts.

Action Parts

テキスト

Memorize/RecallChange the status of the AgentAcquire the status of the AgentRecieve Goods and InformationAcquire the status of other AgentAcquire the world statusSend Goods and InformationChange the status of other AgentChange the world statusAcquire the details of InformationAcquire the detals of GoodsAcquire SetAcquire the details of RelationCreate new InformationCreate new GoodsCreate new SetEdit InformationChange the status of GoodsControl SetCalculateOutputTerminate the AgentAdd Behavior to the AgentDelete Behavior of the AgentObtain Goods.......

Increase the value of DoubleInformation the Agent hasReduce the value of DoubleInformation the Agent hasUpdate the value of DoubleInformation the Agent hasIncrease the value of IntegerInformation the Agent hasReduce the value of IntegerInformation the Agent hasChange the value of IntegerInformation the Agent hasCheck the current status of this BehaviorSpecify the Type of this BehaviorDelete Information the Agent memorizedAssign all memorized Information of the Agent to a MapMake the Agent Recall InformationMake the Agent Memorize InformationAcquire all specified Types of Goods from the AgentAcquire specified quantity of Goods from the AgentAcquire specified Parent-Type of Goods from the Agent and Assign them to a SetAcquire specified Parent-Type and quantity of Goods from the Agent and Assign them to a SetConnect one way Relation between the Agent and othersConnect mutual Relation between the Agent and othersDisconnect mutual Relation between the Agent and othersDisconnect one way Relation of the AgentDisconnect all specified Types of Relations of the AgentDisconnect a specified Parent-Type of Relations of the AgentClose active ChannelSpecify the AgentSpecify the Type of the AgentCheck whether the Agent has the specified Type of Goods.........

Model Patterns

コミュニケーションのモデル・パターン

Immediate Reply

■ 目的

Questioner Respondent

QuestionInformation

ReplyInformation

ToRespondent

Questioner

QuestionBehavior

Respondent

ReplyBehavior

Questioner

QuestionBehavior

Respondent

ReplyBehavior

QuestionBehavior

ReplyBehavior

他のエージェントに質問し、直ちに返答を受ける。

■ 動機他のエージェントの属性等について知りたい場合

に、質問をして問い合わせることがある。

■ 基本動作Questionerエージェントと Respondentエージェ

ントが登場する。Questionerエージェントは、Ques-tionBehaviorをもっており、これによってQuestion-Informationを生成し (ここでは内容は空とする)、Respondentエージェントに送信する。Respondentエージェントは、ReplyBehaviorでそれを受けて、直ちに ReplyInformationを送り返す (ここでは文字列の内容をもつとする)。

■ 設計

【全体像】

: ImmediateReplyWorld : ImmediateReplyModel

AGENTTYPE_Questioner : AgentType : Agent

: Agent AGENTTYPE_Respondent : AgentType

BEHAVIORTYPE_Question : BehaviorType: QuestionBehavior

INFORMATIONTYPE_Question : InformationType: QuestionInformation

INFORMATIONTYPE_Question : InformationType: ReplyInformation

BEHAVIORTYPE_Reply : BehaviorType: ReplyBehavior

RELATIONTYPE_ToRespondent : Relation

260

【QuestionBehavior】

AbstractQuestionBehavior

AbstractBehavior( from org.boxed_economy.besp.model.fmfw.behavior )

QuestionBehavior

questionAction ( )readReplyAction ( )isReply ( )

【ReplyBehavior】

AbstractReplyBehavior

AbstractBehavior( from org.boxed_economy.besp.model.fmfw.behavior )

ReplyBehavior

replyAction ( )isQuestion ( )

【QustionInformation】

Imformation( from org.boxed_economy.besp.model.fmfw )

<< interface >>

QuestionInformation

【ReplyInformation】

Imformation( from org.boxed_economy.besp.model.fmfw )

<< interface >>

ReplyInformation

contents: Srting

setContents ( String )

getContents ( ) : String

ReplyInformation ( String )

261

A Pattern Language for Agent-Based Social Modeling

Takashi Iba, "A Study on Simulating Economies and Societies as Evolutionary Complex Systems,"

Ph.D Thesis for Graduate School of Media and Governance, Keio University, 2003

Realized the limitations...

Something is missing...

life

generativity

social systems theory(autopoietic systems)by Niklas Luhmann

Facilitation Patterns

初心者への心がけ■ 　状況体験学習プログラムの参加者の中には，今まで体験学習やワークショップなどに参加した経験が無い人がいることもあるだろう．そのような人は，入りやすい受付(19)によってある程度リラックスさせることができるが，どのように参加をしていけばいいか分からず不安に思っていることが多い．

＊　＊　＊■ 　問題ワークショップ初心者に対しては，どのようなことに注意すれば良いだろうか．

■ 　問題記述体験学習のような主体的に参加が求められる学習に慣れていない参加者に対しては，配慮をしたい．何故なら，初心者の参加者にとっては，体験学習の運営方法や参加の仕方は新鮮に感じることが多く，どのように参加したら良いか解らず戸惑いやすい．体験学習では，一連のプログラムに対等な関係で参加することが，参加者同士の気づきを増やすために必要である．したがって，初心者に対する事前のフォローが重要になる．

■ 　解決方法初心者に対しては，ファシリテーターからどのように参加してほしいのかを伝えることや，参加における心得を示そう．

■ 　具体例参加における心得の内容としては，「『積極的に参加してください』体験学習ではみなさんが主役です．」や，「『楽しんでください』私がそそのかし役となって，皆さんにいろんな体験をしてもらいますが，まずは楽しんでください．」などが上げられるだろう 17).

＊　＊　＊■ 　関連ファシリテーションにおける重要な点の一つに，メンバー同士が対等に活動したり議論したりする場をつくることがある—-みんなの場 (31)．

図 3 初心者への心がけパターン

26) 渡辺武: 新しい会議の知恵：みんなで育てる話し合い, あゆみ出版 (1984).

27) 堀公俊:「話し合い」の新技術,プレシデント社(2005).

28) 内田政志: 入門会議の技術：ムダをなくして効率アップ, 大和出版 (1996).

29) 市川伸一: 学ぶ意欲の心理学, PHP新書 (2001).30) 清水崇博: 体験学習におけるファシリテーションのパターン分析：体験学習の場づくりを支援する,慶應義塾大学環境情報学部卒業制作論文 (2002).

みんなの場■ 　状況多くの人達で協力して何かの活動をする際，誰もが気持ち良く参加したいと思うものである．しかしながら，人数が増えることでやりにくくなったり，グループ内のメンバーによって活発的な雰囲気が失われてしまうことがある．

＊　＊　＊■ 　問題主体的に参加できる場づくりをするためにはどうすれば良いだろうか．

■ 　問題記述メンバー同士の意見を共有することや，その意見に対して議論を交わす際に，特定の人だけが発言をしてその場を仕切ってしまうことがおこる．そうなると，少数派になった人の意見が正しく吟味されないばかりか，疎外されたことにより全く意見を出さなくなる傍観者になりやすい．学習の効果を引き出すためにも，参加者一人一人がチームに貢献する必要がある—–責任の明確化 (27)．そのためには，自由に発言ができるような環境をつくる必要がある．

■ 　解決方法メンバーが対等な関係で議論ができる環境をつくろう．

■ 　具体例例えば，身分や役職，性別，年齢による権威行使を排除すること．また，ファシリテーターがどんな意見でも推奨するように働きかけを行うことや，どんな意見であってもフィリップチャートにまとめで張り出すこと—–可視化された意見 (43)をおこなうと意見を視覚的にも対等に扱っていることがわかるので，自由な発言がうまれて対等な議論が進みやすくなる．

＊　＊　＊■ 　関連平等に参加してもらうためにも，初心者への心がけ (21)を忘れないようにしよう．また，質問タイム (41)を設けることで，誰もが同じスタートラインに立てるように個別の疑問点を解消させよう．さらに，発言が少ない人に対しては，問いかけを行うことも有効である—–議論を促す問いかけ (32)．さらに，意思決定における公平性 (30)も保たれる必要がある．最後に，メンバーが攻撃されることや，仲間はずれにされないように，ファシリテーター自身がそのプロセスを監視することが重要である—–セーフティーネット (36)．

図 4 みんなの場パターン

初心者への心がけ■ 　状況体験学習プログラムの参加者の中には，今まで体験学習やワークショップなどに参加した経験が無い人がいることもあるだろう．そのような人は，入りやすい受付(19)によってある程度リラックスさせることができるが，どのように参加をしていけばいいか分からず不安に思っていることが多い．

＊　＊　＊■ 　問題ワークショップ初心者に対しては，どのようなことに注意すれば良いだろうか．

■ 　問題記述体験学習のような主体的に参加が求められる学習に慣れていない参加者に対しては，配慮をしたい．何故なら，初心者の参加者にとっては，体験学習の運営方法や参加の仕方は新鮮に感じることが多く，どのように参加したら良いか解らず戸惑いやすい．体験学習では，一連のプログラムに対等な関係で参加することが，参加者同士の気づきを増やすために必要である．したがって，初心者に対する事前のフォローが重要になる．

■ 　解決方法初心者に対しては，ファシリテーターからどのように参加してほしいのかを伝えることや，参加における心得を示そう．

■ 　具体例参加における心得の内容としては，「『積極的に参加してください』体験学習ではみなさんが主役です．」や，「『楽しんでください』私がそそのかし役となって，皆さんにいろんな体験をしてもらいますが，まずは楽しんでください．」などが上げられるだろう 17).

＊　＊　＊■ 　関連ファシリテーションにおける重要な点の一つに，メンバー同士が対等に活動したり議論したりする場をつくることがある—-みんなの場 (31)．

図 3 初心者への心がけパターン

26) 渡辺武: 新しい会議の知恵：みんなで育てる話し合い, あゆみ出版 (1984).

27) 堀公俊:「話し合い」の新技術,プレシデント社(2005).

28) 内田政志: 入門会議の技術：ムダをなくして効率アップ, 大和出版 (1996).

29) 市川伸一: 学ぶ意欲の心理学, PHP新書 (2001).30) 清水崇博: 体験学習におけるファシリテーションのパターン分析：体験学習の場づくりを支援する,慶應義塾大学環境情報学部卒業制作論文 (2002).

みんなの場■ 　状況多くの人達で協力して何かの活動をする際，誰もが気持ち良く参加したいと思うものである．しかしながら，人数が増えることでやりにくくなったり，グループ内のメンバーによって活発的な雰囲気が失われてしまうことがある．

＊　＊　＊■ 　問題主体的に参加できる場づくりをするためにはどうすれば良いだろうか．

■ 　問題記述メンバー同士の意見を共有することや，その意見に対して議論を交わす際に，特定の人だけが発言をしてその場を仕切ってしまうことがおこる．そうなると，少数派になった人の意見が正しく吟味されないばかりか，疎外されたことにより全く意見を出さなくなる傍観者になりやすい．学習の効果を引き出すためにも，参加者一人一人がチームに貢献する必要がある—–責任の明確化 (27)．そのためには，自由に発言ができるような環境をつくる必要がある．

■ 　解決方法メンバーが対等な関係で議論ができる環境をつくろう．

■ 　具体例例えば，身分や役職，性別，年齢による権威行使を排除すること．また，ファシリテーターがどんな意見でも推奨するように働きかけを行うことや，どんな意見であってもフィリップチャートにまとめで張り出すこと—–可視化された意見 (43)をおこなうと意見を視覚的にも対等に扱っていることがわかるので，自由な発言がうまれて対等な議論が進みやすくなる．

＊　＊　＊■ 　関連平等に参加してもらうためにも，初心者への心がけ (21)を忘れないようにしよう．また，質問タイム (41)を設けることで，誰もが同じスタートラインに立てるように個別の疑問点を解消させよう．さらに，発言が少ない人に対しては，問いかけを行うことも有効である—–議論を促す問いかけ (32)．さらに，意思決定における公平性 (30)も保たれる必要がある．最後に，メンバーが攻撃されることや，仲間はずれにされないように，ファシリテーター自身がそのプロセスを監視することが重要である—–セーフティーネット (36)．

図 4 みんなの場パターン

Takahiro Shimizu& Takashi Iba

for experiential learning

at Allerton House, PLoP 2007

Project Patterns(PLoP2008) 3. EXAMPLES OF PROJECT PATTERNS

Since it is di!cult to show all of the forty seven patterns,only two out of forty seven patterns will be introduced here.One is “Outside of Work”, which is likely to be used atearly stage, and another is “Naming”, which is useful forthe middle stage.

Pattern No.2 Outside of WorkContextWhen the project is on the early stage and the team members

do not know each other. It is almost impossible to understandothers in a second. Time must be spent to get to know who theyreally are. This is not especially limited to early stages of theproject.

ProblemMembers are not able to understand each other’s thoughts and

feelings yet. We have not build and maintained trust, under-standing, camaraderie and empathy, in a team.

Force

• Work is not the easiest place to build the trusting relation-ships.

• People have di!erent cultures and perspectives.

• Trust and empathy is needed in a team to result issues andmotivate collaboration.

• Team member’s time is valuable.

SolutionBy inviting members to parties and spending time together

outside of work, it becomes easier to understand their ideas andpersonalities. That leads to active communication. Include manydi!erent types of activities so that no one feels left out if they donot want to participate because of cultural di!erences.

ResolutionThe team has been motivated and increased trust and commu-

nication.NotesStart with going to dinner after work. Eating together relaxes

people, which will support them to be open and honest.Related Patterns

CommunicationRelationship

Outside of Work

Deep Dive

Deep Dialog

Positive ChainThank You Spirit

Pattern No.19 NamingContext There are so many ideas and concepts. It is get-

ting di!cult to discuss the complex topics. People under-stand the world by naming, but with adjectives like, “roundand hard object” cannot specify one object. You need someidea to make communication comfortable.

What was Juhn’s idea??What was Juhn’s idea??

Let’s call it “oasis” !

ProblemCharacteristics of an idea or final output is blurry. Re-

peating the sentence takes an extra time and di!cult tofocus on an issue. It also bothers the fluencies of conversa-tion.

Force

• Available time is limited.

• It is easy to talk about the named thing.

• People tend to forget easily.

• Having common language drives the communication.

SolutionName it. By naming a new idea or an object, it becomes

easier to talk about. It also clarifies the characteristics ofthe idea and make it easy to compare with other ideas.

ResolutionCommon language makes the conversation smooth.Notes

“Let’s talk about John’s idea.”“What’ s John’s idea?”“The idea of a new pattern about projects.”“Ok, then let’s name his idea, ‘Oasis’ from now on!”All the names of the patterns in Project Patterns are goodexamples of naming.

Related Patterns

Reflective Meeting

Think Again

Naming

Leave Record

Creative Thinking

Scale ConversionBody Storming

Exciting ContactsCreative Workplace

4. ACKNOWLEDGMENTSMany thanks to everyone who helped us to make and de-

velop the patterns. We would like to thank to Antonio RitoSilva for being our “shepherd” and providing many usefulsuggestions. We also would like to thank to those who at-tended the writers’ workshop of the Pattern Languages ofPrograms (PLoP) conferences for giving fuiltful commentsand advise.

5. REFERENCES[1] Kanafumi Furuichi and Koji Wakamatsu and Yohei

Yumura and Takashi Iba. A Pattern Language inProject Management, IPSJ SIG Technical Reports,2007-MPS-64, in Japanese, 2007

[2] Takashi Iba and Yohei Yumura and Koji Wakamatsuand Kanafumi Furuichi. Proposing and Evaluating aPattern Language for Promoting Project, JWEIN07, inJapanese, 2007

[3] Yohei Yumura and Koji Wakamatu and Takashi Iba.Evolution of A Pattern Language for PromotingProject, IPSJ SIG Technical Reports, 2006-MPS-68, inJapanese, 2008

3. EXAMPLES OF PROJECT PATTERNSSince it is di!cult to show all of the forty seven patterns,

only two out of forty seven patterns will be introduced here.One is “Outside of Work”, which is likely to be used atearly stage, and another is “Naming”, which is useful forthe middle stage.





Force











Outside of Work

Deep Dive

Deep Dialog








Force









Related Patterns

Reflective Meeting

Think Again

Naming

Leave Record

Creative Thinking









3. EXAMPLES OF PROJECT PATTERNSSince it is di!cult to show all of the forty seven patterns,

only two out of forty seven patterns will be introduced here.One is “Outside of Work”, which is likely to be used atearly stage, and another is “Naming”, which is useful forthe middle stage.





Force











Outside of Work

Deep Dive

Deep Dialog








Force









Related Patterns

Reflective Meeting

Think Again

Naming

Leave Record

Creative Thinking









Miyuko NaruseYusuke TakadaYohei YumuraKoji Wakamatsu& Takashi Iba(PLoP2008)

Research Patterns(PLoP2008)

it. The communication between the team members becomesmoother if this pattern language is shared. Once it becomesto the common language, you will save extra discussion.

We hope that this pattern language for academic researchhelps the students to work on their research activities. Inorder to evolve this pattern language, we want many peopleto use this pattern language, and get the feedbacks.

3. EXAMPLE PATTERNSThis paper introduce 2 patterns of Research Patterns:

“Hot Team” from Relationship category and “Clear Roadmap”from Motivation category.

Hot Team

ContextThis pattern is used when you are forming a new projectteam.

ProblemPeople don’t know each other and don’t feel committed tothe team.

ForcesYou want to build up people’s self esteem and self confi-dence.You want to create the ”social glue” for your new team.Available time is limited, so complex or long activities shouldbe avoided.Funds of the team members are limited, as well.

SolutionSocial bonding will help your team in their road to projectsuccess. Make time available for extra-curricular activi-ties such as bowling, fishing, eating (see also “Brown BagLunch”), drinking, hiking or other adventures. This willhelp your team members construct tighter relationships byproviding more common ground, shared experiences and get-ting to know more aspects of their colleagues.

ConsequencesYou will create a “Community of Trust” where people sup-port each other. You spend more time together and shareexperiences and feelings with your team mates.

However, games and activities require extra time if theyare to be good ways to know each other. Money may alsopresent a problem, as not all people in your team may havegenerous budgets for extra-curricular activities. Watch outfor other di!erences in your team, such as cultural diversity- for example, in some cultures drinking alcohol is barred.Competitive games and competitive activities may gener-ate tensions in the team, so try to steer away from overlycompetitive games.

Clear Roadmap

ContextThis pattern motivates people who have lost their passionfor research.

ProblemYou don’t feel any passion for research. You’ve lost yourway.

ForcesYou want to improve self confidence.You don’t have much time for research.It’s di"cult for researchers to set a final goal of research.Big success in research needs close strategies.

SolutionCompare your present situation with your goals. Constructa roadmap by back tracking from your goals. Ask yourselfwhat you need to do to meet them. This way you will endup with a clearer view of you next actions and a plan toreach your goals.

ConsequencesYou know where to go, and when you need to be there.Working on your end goals and goals needed to get theremakes you revise and review your research. This will helpyou refocus and provide you with fresh insights. Your selfconfidence will improve once you know the road ahead.

However, you may aim too low or too high or make wrongturn in your roadmap. Talk with other people to get theirfeedback on your plan. Creating your roadmap may seemlike a very short activity, but working on it may take moretime than you expect. Resist the temptation to constantlyrevise plans and never do any research!

4. ACKNOWLEDGMENTSWe want to thank many people for giving me the oppor-

tunity to improve my paper. Especially, Daniel May, whois my “shepherd” gave me much advice. And participantsin the Writers’ Workshops “Security and Quality” improvedmy paper with hot discussion. We deeply appreciate yourkindness. Thanks a lot. And with your advice, we are goingto improve other patterns as those patterns.

5. REFERENCES[1] C. Alexander A Pattern Language. Oxford University

Press.[2] C. Alexander The Timeless Way of Building Oxford

University Press.

it. The communication between the team members becomesmoother if this pattern language is shared. Once it becomesto the common language, you will save extra discussion.

We hope that this pattern language for academic researchhelps the students to work on their research activities. Inorder to evolve this pattern language, we want many peopleto use this pattern language, and get the feedbacks.

3. EXAMPLE PATTERNSThis paper introduce 2 patterns of Research Patterns:

“Hot Team” from Relationship category and “Clear Roadmap”from Motivation category.

Hot Team

ContextThis pattern is used when you are forming a new projectteam.

ProblemPeople don’t know each other and don’t feel committed tothe team.

ForcesYou want to build up people’s self esteem and self confi-dence.You want to create the ”social glue” for your new team.Available time is limited, so complex or long activities shouldbe avoided.Funds of the team members are limited, as well.

SolutionSocial bonding will help your team in their road to projectsuccess. Make time available for extra-curricular activi-ties such as bowling, fishing, eating (see also “Brown BagLunch”), drinking, hiking or other adventures. This willhelp your team members construct tighter relationships byproviding more common ground, shared experiences and get-ting to know more aspects of their colleagues.

ConsequencesYou will create a “Community of Trust” where people sup-port each other. You spend more time together and shareexperiences and feelings with your team mates.

However, games and activities require extra time if theyare to be good ways to know each other. Money may alsopresent a problem, as not all people in your team may havegenerous budgets for extra-curricular activities. Watch outfor other di!erences in your team, such as cultural diversity- for example, in some cultures drinking alcohol is barred.Competitive games and competitive activities may gener-ate tensions in the team, so try to steer away from overlycompetitive games.

Clear Roadmap

ContextThis pattern motivates people who have lost their passionfor research.

ProblemYou don’t feel any passion for research. You’ve lost yourway.

ForcesYou want to improve self confidence.You don’t have much time for research.It’s di"cult for researchers to set a final goal of research.Big success in research needs close strategies.

SolutionCompare your present situation with your goals. Constructa roadmap by back tracking from your goals. Ask yourselfwhat you need to do to meet them. This way you will endup with a clearer view of you next actions and a plan toreach your goals.

ConsequencesYou know where to go, and when you need to be there.Working on your end goals and goals needed to get theremakes you revise and review your research. This will helpyou refocus and provide you with fresh insights. Your selfconfidence will improve once you know the road ahead.

However, you may aim too low or too high or make wrongturn in your roadmap. Talk with other people to get theirfeedback on your plan. Creating your roadmap may seemlike a very short activity, but working on it may take moretime than you expect. Resist the temptation to constantlyrevise plans and never do any research!

4. ACKNOWLEDGMENTSWe want to thank many people for giving me the oppor-

tunity to improve my paper. Especially, Daniel May, whois my “shepherd” gave me much advice. And participantsin the Writers’ Workshops “Security and Quality” improvedmy paper with hot discussion. We deeply appreciate yourkindness. Thanks a lot. And with your advice, we are goingto improve other patterns as those patterns.

5. REFERENCES[1] C. Alexander A Pattern Language. Oxford University

Press.[2] C. Alexander The Timeless Way of Building Oxford

University Press.

Yuji KobayashiMariko YoshidaAyaka Sasaki& Takashi Iba(PLoP2008)

Learning Patterns(PLoP2009, AsianPLoP2010)

Learning Patterns : A Pattern Language for Creative Learning (ver. 0.80)

A Pattern Languagefor Creative LearningVer. 0.80

September, 2011

[email protected] Patterns Project

patterns

ver. 0.80

Design Your Learning

Making OpportunitiesCreative ProjectOpen-Process Learning

Jump InLearning by ImitationEffective AskingOutput-Driven LearningForeign Language Every DayPlayful LearningEmbodied SkillsLanguage ShowerTangible PilesTornado of LearningTriangle ScalingChain of Excitement!

Thinking in ActionPrototypingField DivingMulti-Camera ShootingA Bird's- & Bug's-Eye ViewHidden ConnectionsFrontier FinderCreative SwitchFruit FarmingInitial Draft Only HalfwayAttractive ExpressionAcceleration to Next

Community of LearningGood RivalsConsequential EncounterFirm DeterminationTalking ThinkerLearning by TeachingObvious ReasonRight WayBrave ChangeExplorer's PassionSelf-ProducingBe Extreme!

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No.

³:H�EXLOG�WRR�PDQ\�ZDOOV�DQG�QRW�HQRXJK�EULGJHV�´�²�,VDDF�1HZWRQ�

“Creativity involves breaking out of established patterns in order to look at

WKLQJV�LQ�D�GLIIHUHQW�ZD\�´�²�(GZDUG�GH�%RQR

³7KH�PRVW�H[FLWLQJ�DWWUDFWLRQV�DUH�EHWZHHQ�WZR�RSSRVLWHV�WKDW�QHYHU�PHHW�´�— Andy Warhol

An unexpected connection is the very thing that is exciting.

Hidden Connections

No.21

You are studying something from typical points of view.

ź�,Q�WKLV�FRQWH[W

Unexpected discoveries hardly manifest themselves from a FRQYHQWLRQDO�FODVVL¿FDWLRQ�

�� It looks good if it is what you are already accustomed to.�� ,W�LV�QHFHVVDU\�WR�¿QG�QHZ�PHDQLQJV�RI�FRQQHFWLRQV�DPRQJ�WKLQJV�ZKHQ�

you are applying a new point of view.�� ,QFUHDVLQJ�WKH�QXPEHU�RI�HOHPHQWV�EULQJV�DERXW�WKH�GLI¿FXOW\�LQ�JUDVSLQJ�

the whole due to a drastic increase of connections among them.

ź�7KHUHIRUH�

Explore hidden connections among things to attain inspiration.

�� Find hidden connections among different fields that share the same terms.

�� Think about how and why these things are connected.�� Make a new category for each connection.�� Consider other things that can be connected to the new category.

4. Jump In

37. Explorer’s Passion

35. Right Way7. Output-Driven Learning

32. Talking Thinker

11. Language Shower

14. Triangle Scaling

17. Prototyping

19. Multi-Camera Shooting 24. Fruit Farming

27. Acceleration to Next

29. Good Rivals

5. Learning by Imitation6. E!ective Asking

39. Be Extreme!38. Slef-Producing

34. Obvious Reason

36. Brave Change

8. Foreign Language Every Day

9. Playful Learning

31. Firm Determination

33. Learning by Teaching

10. Embodied Skills

12. Tangible Piles

15. Chain of Excitement!

13. Tornade of Learning

16. Thinking in Action

18. Field Diving

21. Hidden Connections20. A Bird’s- & Bug’s-Eye View

22. Frontier Finder23. Creative Switch

25. Initial Draft Only Halfway26. Attractive Expression

28. Community of Learning

30. Consequential Encounter

3. Open-Process Learning

0. Design Your Learning

2. CreativeProject

1. MakingOpportunities

Takashi IbaToko MiyakeMiyuko NaruseNatsumi Yotsumoto(PLoP2009)

Takashi Iba& Toko Miyake(AsianPLoP2010)

Pedagogical Patterns for Creative Learning (PLoP2011)

Takashi IbaChikara IchikawaMami SakamotoTomohito Yamazaki(PLoP2011)

“Water Purifying” for discovering the invisible: Whenmeeting with large earthquake, we have no water supply.To get drinkable water is truly authentic matter, stu-dents desperately investigate to discover invisible mech-anism.

“Create the Science-Fiction Story” for discovering howto discover: Some constraints ( Science Fiction, positiveending, character’s personality ) that were given to stu-dents drove them to think creatively and discuss lively.This Challenging Mission convinced them how to dis-cover their own discovery.

ReferencesInternational Baccalaureate Organization, IB learner profilebooklet, 2008

Generative Participant

Encourage students in thinking, communicating, andcreating,

as a participant in the activity rather than a teaching actor.

discovery

?!

idea

how??

Wow!good!??????

You are about to facilitate creative learning in the classroom,after you have designed the curriculum based on Discovery-Driven Expanding and the mission based on Challenging Mis-sion. Thanks to the accumulation of learning through Discovery-Driven Expanding, the learners feel easy to say their ideas andapprove other’s ideas. Also, thanks to the series of experi-ences through Challenging Mission, the learners are ready tocope with the di!culty of the mission.

In this context

Communication for the collaboration doesn’t alwaysgo smoothly, and often stops and sometimes fallsinto the situation where a very few members controlthe flow and others follow it. In such a situation, teach-ers’ direct control of the flow often inhibits creative learning,and therefore learning through creation does not occur. Thisproblem has been discussed for a long time in the study ofcollaborative learning such as Palincsar et al. (1987). Themost important point of creative learning is successive emer-gence of discoveries. So learners must continue to producediscoveries not by thinking but also by communication.

Therefore

Consider you as a participant in the activity ratherthan a teaching actor, who contributes to producesome of discoveries in the creation and also encour-age your partners (learners) to think and commu-nicate. More concretely, tell your ideas, opinions such as“Oh! That’s a nice idea!” and questions such as “Do youmean ...?”, which assist to accelerate the flow of commu-nication and reconsider their ideas. It does not mean thecontrol of the flow from outside. Rather, it is the influencefrom inside.

Consequently

Learners can keep concentration into the creation and feelthe progress, and therefore they learn through the creation.

Moreover, learners become to deeply understand the value ofcollaboration with others, so to be willing to enjoy creativedialogues.

* * *

For instance, C. Ichikawa participates into his class entitles“Future Funeral” at the Tokyo Community School based onGenerative Participant. Since it is quite di!cult for childrento imagine their future concretely how and what they will bethirty years later, he first shows an example of chronologyof his future. It includes many things such as good, bad,proud and shame things frankly, and he presented to them,and inspires the students to make their own chronology. Inthe halfway of writing, he has students give a presentationabout their chronology to each other, and brush-up theirchronology. In all phases, he tells his ideas, opinions andquestions in order to assist to accelerate the flow of commu-nication and reconsider their ideas.

Generative Participant to “Future Funeral”: The settingof not just imagine 30 years later but assume to meet atthe “future funeral” of their elementary teacher makesstudents feel authentic. Both a teacher and studentshave no exact answer, they are doing the creative dia-logue in order to forecast the future. A teacher partic-ipate the discussion not only to facilitate students butalso to present teacher’s view straightly.

ReferencesPalincsar, A. S., Brown, A. L. and Martin, S., Peer interac-tion in reading comprehension instruction, Educational Psy-chologist, 22 (3 & 4), pp.231-253, 198

4. CONCLUSIONSIn this paper, we proposed pedagogical pattern language forcreative learning, and present three core patterns. Thesepatterns are intended to constitute a part of the whole lan-guage, which will be presented in the succeeding papers.The pattern language presented in this paper is a kind oflanguages known as pedagogical patterns [1, 3] in broadersense. Connecting these studies, we would like to developand improve languages in order to help teachers to attainbetter education.

5. ACKNOWLEDGMENTSWe would like to thank to Prof. Mutsumi Imai for makingan opportunity that the authors collaborate together, andRyusei Yoshida for discussing the contents of patterns. Wealso thank to our shepherd Christian Kohls and the work-shop participants in PLoP2011 for kind and good advices.

6. REFERENCES[1] D. L. G. Anthony. Patterns for classroom education,

1996.[2] Y. Anzai and H. Simon. The theory of learning by

doing. Psychological Review, 86(2):124–140, November1979.

[3] J. Bergin. Fourteen pedagogical patterns. In EuropeanConference of Pattern Languages of Programs, 2000.

[4] J. Dewey. Democracy and Education. Free Press, 1997(1916).

[5] P. F. Duckier. The Age of Discontinuity: Guidelines toOur Changing Society. Transaction Publishers, 1992(1968).

[6] T. Iba. An autopoietic systems theory for creativity.Procedia - Social and Behavioral Sciences,2(4):6610–6625, 2010.

[7] T. Iba and Learning Patterns Project. Learningpatterns: A pattern language for creative learning. InThe Third International Conference on CollaborativeInnovation Networks (COINs2011), 2011.

[8] C. Ichikawa. Tankyu-suru Chikara [The ability toInquire]. Authentic Inquiry Institute, 2009. in Japanese.

[9] M. Resnick. Sowing the seeds for a more creativesociety. Learning and Leading with Technology,December January 2007.

Presentation Patterns(EuroPLoP2012)

Ver. 0.60October, 2012

http://ppatterns.org/[email protected]

Presentation Patterns Project

Creative Presentation

Main MessageTouching GiftImage of Success

StorytellingExploration of WordsVisual PowerDramatic ModulationUnexpected EvolutionDoors of MysteryBeautiful ClarityPerfect PortionCherry on Top

Mind BridgeReality SharingParticipation DriverQuality in DetailsExpression CoordinatorDiscomfort RemovingSignificant VoidActivation SwitchTake-Home Gift

Stage BuildingReminders of SuccessConstruction of ConfidencePresentershipBest EffortPersonally for YouInvitation to the WorldImprovised PresentationReflecting Forwards

Unique PresenterAesthetics of PresentingBe Authentic!

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Presentation Patterns: A Pattern Language for Creative Presentations (ver. 0.60)

A Pattern Language for Creative Presentations

No.

“A rainbow which lasts for a quarter of an hour is looked at no longer.” — Johann Wolfgang von Goethe

Solving mysteries one after another.

Doors of Mystery

No.9

You want to make an attractive Storytelling (4) that conveys the Main Message (1).


You can’t keep the audience’s attention.

�� Interests towards a single subject don’t last long.�� The audience will stop paying attention unless they feel impressed or

interested.

ź�7KHUHIRUH

Design the structure of the presentation so that it appeals to the curiosity of the audience and continuously drives their interest.

Consider what the audience already knows and what they don’t know. From this assumption, consider what kind of things the audience would show interest in. Then construct the presentation so that the audience will continuously be surprised and learn something new.

ź�&RQVHTXHQWO\

The audience will become interactive to the presentation since they are curios and intrigued. In addition, you can plan your Storytelling (4) in elaboration with the Doors of Mysterious (9).

1. Main Message

2. Touching Gift

3. Image of Success

4. Storytelling

5. Exploration of Words

6. Visual Power

7. Dramatic Modulation

8. Unexpected Evolution

9. Doors of Mystery

10. Beautiful Clarity

11. Perfect Portion

12. Cherry on Top

13. Mind Bridge

14. Reality Sharing15. Participation Driver

16. Quality in Details

17. Expression Coordinator

18. Discomfort Removing

19. Significant Void

20. Activation Switch

21. Take-Home Gift

22. Stage Building

23. Reminders of Success

24. Construction of Confidence

25. Presentership26. Best Effort

27. Personally for You

28. Invitation to the World

29. Improvised Presentation

30. Reflecting Forwards

31. Unique Presenter

32. Aesthetics of Presenting

33. Be Authentic!

0. Creative Presentation

Takashi IbaAya Matsumoto& Kaori Harasawa(EuroPLoP2009)

Generative Beauty Patterns(PLoP2012)

se

a

water

ƪower

Groups9The Generative Beauty Patterns are categorized into 9 groups

��ơ��Ǥ

��Ǥ�

Flower, Bamboo, and Groundǡ��

��Ǣ�Rainbow, Water, and Oceanǡ��

��Ǣ�Star, Moon, and the Sun, that brings

��Ǥ�

rainbow

water

ƪower

sun

moon

ground

bam

boo

star

13Go NaturalSome beauty comes naturally

Solution

Context

Problem

You are always putting on makeup

because you don’t have much

confidence in your bare face.

You get such used to having makeup

on that you don’t want to meet anyone

when you don’t have any on.

Try adjusting the amount of

makeup based on

the occurrence and the people

you are going to meet.

Try putting on less when you are just going to

school or work. If you are only going to meet

your close friends, even try going natural.

By having opportunities to put on different

kinds of makeup, you might be able to notice

something new about your face.

▶ 02. Charming Point 36. Various Sides

Rinko AraoAyano TamefusaMegumi KadotaniKaori HarasawaShingo SakaiKeishi Saruwatari& Takashi Iba(PLoP2012)

Change Making Patterns(EuroPLoP2012, PLoP2012)

No.

Working as a pro bono fundraiser, Mr. Hiroshi Ogawa is the sales

manager of a large enterprise. He is able to spend an economically stable life

and put energy in his reason for living. Mr. Ogawa acknowledges that his

social contributions through Rooms to Read cannot exist without his family’s

understating, friend’s trust, and a healthy life. Consequently, he values his

time and anniversaries with his family and improving eating habits.

:LWKRXW�D�VRXQG�OLIH��\RX�FDQQRW�À\�RXW�

Energy Boost

No.3

You are on the preparation of your project, in which you really wish to be dedicated.


Strong performances cannot exist unless you manage the essentials of your life.

�� Without physical and mental heath, performance quality decreases.�� Taking actions require endurance and patience.

ź�7KHUHIRUH

Look back on your life including your physical and mental situation, monetary life, and relationships. Then identify the shortages and make up for them.

To boost your energy for your project, exercise daily and eat in a healthy matter. Value the time with the people who are important to you, such as family and friends.Even if your are busy, do not forget that you need a lively life to be active.

ź�&RQVHTXHQWO\

With a stable life, you are able to make the most of your life and perform your work and tasks to your best quality.

Eri Shimomukai& Takashi Iba(EuroPLoP2009)

Eri ShimomukaiSumire Nakamura& Takashi Iba(PLoP2012)

Pattern Languages for Human Actions

Oral Language

ThreeInterrelatedConcepts

Holistic Approach

Pattern Language 3.0


Pattern Language 1.0Since the late 1970s



Since the late 1980s



Three Waves of Pattern Languages

Pattern Language

Pattern Language

Pattern Language

Object of Design

Physical Forms(Architecture)

Non-Physical Forms(Software, Interface, Organization)

Forms of Human Action(Innovation, Education, Learning,

Presentation, Collaboration)

Three Waves of Pattern Languages

(Software, Interface, Organization)

(Innovation, Education, Learning,

Act of Design

Design Act is Embeded in Actions over Time

Design Act is Iteratedover Time

Design Act is BasicallyCarried out in a Period

complition

Design

Design

a series of action

release release

Design Design

Bridging the Gap betweenDesigners and Users

Bridging the Gap betweenExpert and Non-Expert Designers

Connecting People who have Different Experiences

Purpose

2.0Pattern Language

1.0Pattern Language

Pattern Language3.0

Pattern Language

Pattern Language

Pattern Language

Object of Design





2.0Pattern Language

1.0Pattern Language

Pattern Language3.0

http://stephania32.wordpress.com/

Christopher Alexander

C. Alexander, S. Ishikawa, M. Silverstein,A Pattern Language: Towns, Buildings, Construction, Oxford University Press, 1977

The idea of pattern languages was originally proposed for architectural design.

Pattern Language


1.0Pattern Language

http://stephania32.wordpress.com




Ward CunninghamKent Beck

http://commons.wikimedia.org/wiki/File:Ward_Cunningham_at_Wikimania_2006.jpg

Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented

Program”, OOPSLA '87, 1987http://commons.wikimedia.org/wiki/File:Kent_Beck_no_Workshop_Mapping_XP.jpg

The method of pattern languages was applied into software design in late 80’s.

Erich Gamma, Richard Helm, Ralph Johnson, John Vlissides,Design Patterns: Elements of Reusable Object-Oriented Software,

Addison-Wesley Professional, 1994

http://researchweb.watson.ibm.com/designpatterns/pubs/ddj-eip-award.htm

GoF(Gang of Four)

Pattern Language


2.0Pattern Language







http://commons.wikimedia.org/wiki/File:Kent_Beck_no_Workshop_Mapping_XP.jpg










Neil HarrisonJames Coplien

James O. Coplien, Neil B. Harrison, Organizational Patterns of Agile Software

Development, Prentice Hall, 2004

Then, the method of pattern languages has been applied into organizational & interface design.

Jenifer Tidwell, Designing Interfaces, O'Reilly Media, 2005, 2011

Jenifer Tindwell

Pattern Language


2.0Pattern Language

The method of pattern languages has been applied into new areas of design, innovation and education.

Pattern Language


Presentation, Collaboration)Pattern Language3.0

D.L.G. Anthony, J. Bergin, C. Kooppe, C. Kohl, T. Iba, and more.

pedagogical / educational patterns

Linda RisingMary Lynn Manns

M. Lynn Manns, L. Rising, Fearless Change: Patterns for Introducing New Ideas, Addison-Wesley, 2004

The method of pattern languages has been applied into further new areas of design.

Pattern Language


Presentation, Collaboration)Pattern Language3.0



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learning, presentation, life design, change making, and so on.

Pattern Language

Pattern Language

Pattern Language

Object of Design





(Software, Interface, Organization)

(Innovation, Education, Learning,

Act of Design

Design Act is Embeded in Actions over Time

Design Act is Iteratedover Time

Design Act is BasicallyCarried out in a Period

complition

Design

Design

a series of action

release release

Design Design2.0Pattern Language

1.0Pattern Language

Pattern Language3.0

Pattern Language

Pattern Language





PurposeObject of Design

2.0Pattern Language

1.0Pattern Language

“In short, the production systems which we have at present define a pattern of control which makes it almost impossible for things to be done carefully or appropriately, because, almost without exception, decisions are in the wrong hands, decisions are being made at levels far removed from the immediate concrete places where they have impact.”

Part.I, p.40, l.8

C. Alexander, The Production of Houses,

Oxford University Press, 1985


“We replace the idea of standardized housing units with the idea of houses (or apartments) designed by the families who are to live in them, each one designed entirely according to the family’s own unique needs and character, so that as a matter of feeling, each house becomes a genuine life base, a place for the heart, a place in which the family, as a unique being in society, may be anchored and nourished.”

Chap.4, p.165, l.16




“In order to make this possible, there must be some system of rules, some pattern language, or some other similar flexible instrument which makes it possible for families to do this in a competent way.”

Chap.4, p.157, l.13




We propose a radical shift in the burden of design and implementation, using concepts adapted from the work of Christopher Alexander, an architect and founder of the Center for Environmental Structures. Alexander proposes homes and offices be designed and built by their eventual occupants. These people, he reasons, know best their requirements for a particular structure. We agree, and make the same argument for computer programs. Computer users should write their own programs. The idea sounds foolish when one considers the size and complexity of both buildings and programs, and the years of training for the design professions. Yet Alexander offers a convincing scenario. It revolves around a concept called a "pattern language."

Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented Programs,”

OOPSLA-87, 1987


A pattern language guides a designer by providing workable solutions to all of the problems known to arise in the course of design. It is a sequence of bits of knowledge written in a style and arranged in an order which leads a designer to ask (and answer) the right questions at the right time.

Kent Beck & Ward Cunningham, “Using Pattern Languages for Object-Oriented Programs,”

OOPSLA-87, 1987


Designing object-oriented software is hard, and designing reusable object-oriented software is even harder. ... Your design should be specific to the problem at hand but also general enough to address future problems and requirements. ... Experienced object-oriented designers will tell you that a reusable and flexible design is difficult if not impossible to get “right” the first time. ...

Erich Gamma, Richard Helm, Ralph Johnson, John Vlissides,

Design Patterns: Elements of Reusable Object-Oriented Software,


Chapter 1Introduction

(p.1)


Design patterns make it easier to reuse successful designs and architectures. Expressing proven techniques as design patterns makes them more accessible to developers of new systems. Design patterns help you choose design alternatives that make a system reusable and avoid alternatives that compromise reusability. Design patterns can even improve the documentation and maintenance of existing systems by furnishing an explicit specification of class and object interactions and their underlying intent. Put simply, design patterns help a designer get a design “right” faster.

Erich Gamma, Richard Helm, Ralph Johnson, John Vlissides,

Design Patterns: Elements of Reusable Object-Oriented Software,


(p.2)


Pattern Language

Pattern Language





Pattern Language3.0


Purpose

Pattern Language



Object of Design

2.0Pattern Language

1.0Pattern Language


Purpose

Pattern Language



Object of Design

Pattern Language3.0

Pattern Languages as Mediafor Narrative & Dialogues


Pattern Language3.0

Reflecting on & Talking about your experiences,using the vocabulary (patterns) provided in a pattern language.

Dialogue Workshop with a Pattern Language

Jump In

Learning by Imitation

Effective Asking

Output-Driven Learning

Foreign Language Every Day

Playful Learning

Embodied Skills

Language Shower

Tangible Piles

Tornado of Learning

Triangle Scaling

Chain of Excitement!

No.4

No.5

No.6

No.7

No.8

No.9

No.10

No.11

No.12

No.13

No.14

No.15

Thinking in Action

Prototyping

Field Diving

Multi-Camera Shooting

A Bird's- & Bug's-Eye View

Hidden Connections

Frontier Finder

Creative Switch

Fruit Farming

Initial Draft Only Halfway

Attractive Expression

Acceleration to Next

No.16

No.17

No.18

No.19

No.20

No.21

No.22

No.23

No.24

No.25

No.26

No.27

Community of Learning

Good Rivals

Consequential Encounter

Firm Determination

Talking Thinker

Learning by Teaching

Obvious Reason

Right Way

Brave Change

Explorer's Passion

Self-Producing

Be Extreme!

No.28

No.29

No.30

No.31

No.32

No.33

No.34

No.35

No.36

No.37

No.38

No.39

No.3Open-Process Learning

No.1

Making Opportunities

No.2

Creative Project

No.0


Learning Patterns consist of 40 patterns, and there are three types of patterns.

• First type is the root pattern of this pattern language. To be concrete, it is Design Your Learning (No.0).

• Second type is the category patterns that emphasize the essence of creative learning and group detail patterns, which we’ll mention next. Making Opportunities (No.1), Creative Project (No.2), and Open-Process Learning (No.3) are category patterns.

• Third type is detail patterns for providing the practical approach to achieve creative learning. 36 patterns are introduced as this type of patterns in this book.

A Pattern Languagefor Creative Learning patterns

Dialogue Workshopwith

a wholeof learning

learningas a center

learningas a center learning

as a center

learningas a center

a learner



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Making a list of the patterns you have experienced.

Choose some patterns you want to gain in the near future.



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Experience Mining and DialoguesWorkshop Sheet

Your printed name or nickname hereCircle all patterns that you have experienced, and put a checkmark on just 5 patterns that you want to do in the near future.

Jump InLearning by ImitationEffective Asking

Output-Driven LearningForeign Language Every DayPlayful Learning

Embodied SkillsLanguage ShowerTangible Piles

Tornado of LearningTriangle ScalingChain of Excitement!

Thinking in ActionPrototypingField Diving

Multi-Camera ShootingA Bird's- & Bug's-Eye ViewHidden Connections

Frontier FinderCreative SwitchFruit Farming

Initial Draft Only HalfwayAttractive ExpressionAcceleration to Next

Community of LearningGood RivalsConsequential Encounter

Firm DeterminationTalking ThinkerLearning by Teaching

Obvious ReasonRight WayBrave Change

Explorer's PassionSelf-ProducingBe Extreme!


1. Making Opportunities

2. Creative Project


Design Your Learningwith

Ken


















2. Creative Project



Circle all patterns that you have experienced.

Also, put a check mark on some patterns that you want to gain in the near future.

C. Kohls


Look for the person who has experienced the patterns you want to gain. Listen to their experience.

Tell your experience, if you meet the people who want to gain the patterns you have experienced.




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2. Creative Project



Ken

Dialogue Workshop(Video)

Workshop in the COINs2011 Conference

Dialogue Workshopat PLoP2012 !

Sunday

















2. Creative Project





C. Kohls


0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18"

Jump"In"Learning"by"Imita;on"

Effec;ve"Asking"OutputEDriven"Learning"

Foreign"Language"Every"Day"Playful"Learning"Embodied"Skills"

Language"Shower"Tangible"Piles"

Tornado"of"Learning"Triangle"Scaling"

Chain"of"Excitement!"Thinking"in"Ac;on"

Prototyping"Field"Diving"

Mul;ECamera"Shoo;ng"A"Bird'sE"&"Bug'sEEye"View"

Hidden"Connec;ons"Fron;er"Finder"Crea;ve"Switch"Fruit"Farming"

Ini;al"DraY"Only"Halfway"AZrac;ve"Expression"Accelera;on"to"Next"

Community"of"Learning"Good"Rivals"

Consequen;al"Encounter"Firm"Determina;on"

Talking"Thinker"Learning"by"Teaching"

Obvious"Reason"Right"Way"

Brave"Change"Explorer's"Passion"

SelfEProducing"Be"Extreme!"

How many participants have experience of each pattern?@ COINs2011 Conference

How many participants have experience of each pattern?

0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18"

















0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14"

















0" 1" 2" 3" 4" 5" 6" 7" 8" 9" 10" 11" 12" 13" 14" 15" 16" 17" 18" 19" 20" 21" 22" 23" 24" 25" 26" 27" 28" 29" 30" 31" 32"

















College Freshmen College FreshmenResearchers

0" 10" 20" 30" 40" 50" 60" 70" 80" 90" 100" 110" 120" 130" 140" 150" 160" 170" 180" 190" 200"

学びのデザイン学びのチャンス創造的な学び学びをひらく学びの竜巻

知のワクワク！研究への情熱まずはつかる

「まねぶ」ことから教わり上手になる

身体で覚える成長の発見

言語のシャワーアウトプットから始まる学び

プロトタイピング学びのなかの遊び動きのなかで考えるフィールドに飛び込む

偶有的な出会いフロンティアンテナ

広がりと掘り下げの「Ｔ字」隠れた関係性から学ぶ右脳と左脳のスイッチ

鳥の眼と虫の眼量は質を生む自分で考える

目的へのアプローチ捨てる勇気

学びの共同体をつくる「はなす」ことでわかる

ライバルをつくる教えることによる学び外国語の普段使い

小さく生んで大きく育てる魅せる力

「書き上げた」は道半ばゴール前のアクセルセルフプロデュース

断固たる決意突き抜ける

How many participants have experience of each pattern? CollegeFreshmen

0" 10" 20" 30" 40" 50" 60" 70" 80" 90" 100" 110" 120" 130" 140" 150" 160" 170" 180" 190" 200"

学びのデザイン学びのチャンス創造的な学び学びをひらく学びの竜巻

知のワクワク！研究への情熱まずはつかる

「まねぶ」ことから教わり上手になる

身体で覚える成長の発見

言語のシャワーアウトプットから始まる学び

プロトタイピング学びのなかの遊び動きのなかで考えるフィールドに飛び込む

偶有的な出会いフロンティアンテナ

広がりと掘り下げの「Ｔ字」隠れた関係性から学ぶ右脳と左脳のスイッチ

鳥の眼と虫の眼量は質を生む自分で考える

目的へのアプローチ捨てる勇気

学びの共同体をつくる「はなす」ことでわかる

ライバルをつくる教えることによる学び外国語の普段使い

小さく生んで大きく育てる魅せる力

「書き上げた」は道半ばゴール前のアクセルセルフプロデュース

断固たる決意突き抜ける

CollegeFreshmen

How many participants have experience of each pattern?+ How many participants want to gain each pattern?

















2. Creative Project





C. Kohls


Joanna Lyisoureutoy

Maria

Sibashicu

Julia

Chris Miller

Yang

Melina

No name 1 Takis

Allycia Jones

Karsten Jansen

Matthaus Zylka

Olav

Jermain Kaminski

Peter Gloor

Robin Ricjardson Ralf

Thomas Fundnerder

Misali Salasez

Catherine Walthard

Co-occurrence network of participants@ COINs2011 Conference

Attractive Expression

Explorer’s Passion

Thinking in

Action

Tornado of

Learning Embodied

Skills

Fruit Farming Multi−Camera

Shooting

Learning by

Teaching

Output−Driven Learning

Brave Change

Be Extreme!

Initial Draft Only

Halfway

Obvious Reason

Good Rivals

Foreign Language

Every Day

Right Way Talking

Thinker

Effective Asking

Consequential Encounter

Tangible Piles

Community of

Learning

Chain of

Excitement!

Jump In

A Bird’s−

& Bug’s−Eye

View Self−Producing

Field Diving

Frontier Finder

Acceleration to Next

Hidden Connections

Prototyping

Firm Determination

Triangle Scaling

Playful Learning

Language Shower

Creative Switch

Learning by

Imitation

Co-occurrence network of patterns@ COINs2011 Conference

Just EnoughJust Say ThanksLocal SponsorLocation, Location, LocationMentorNext StepsPersonal TouchPiggybackPlant the SeedsThe Right TimeRoyal AudienceShoulder to Cry OnSmall SuccessesSmell of SuccessStay in TouchStep by StepStudy GroupSustained MomentumTailor MadeTest the WatersTime for ReflectionTokenTrial RunWhisper in the General's Ear

Ask for HelpBig JoltBridge-BuilderBrown BagChampion SkepticConnectorCorporate AngelCorridor PoliticsDedicated ChampionDo Foode-ForumEarly AdopterEarly MajorityEvangelistExternal ValidationFear LessGroup IdentityGuru on Your SideGuru ReviewHometown StoryIn Your SpaceInnovatorInvolve EveryoneJust Do It

Dialogue WorkshopwithFEARLESS CHANGE

0" 5" 10" 15" 20" 25" 30" 35" 40"

Ask"for"Help"Big"Jolt"

Bridge8Builder"Brown"Bag"

Champion"SkepAc"Connector"

Corporate"Angel"Corridor"PoliAcs"

Dedicated"Champion"Do"Food"e8Forum"

Early"Adopter"Early"Majority"

Evangelist"External"ValidaAon"

Fear"Less"Group"IdenAty"

Guru"on"Your"Side"Guru"Review"

Hometown"Story"In"Your"Space"

Innovator"Involve"Everyone"

Just"Do"It"Just"Enough"

Just"Say"Thanks"Local"Sponsor"

LocaAon,"LocaAon,"LocaAon"Mentor"

Next"Steps"Personal"Touch"

Piggyback"Plant"the"Seeds"The"Right"Time"Royal"Audience"

Shoulder"to"Cry"On"Small"Successes"Smell"of"Success"

Stay"in"Touch"Step"by"Step"Study"Group"

Sustained"Momentum"Tailor"Made"

Test"the"Waters"Time"for"ReflecAon"

Token"Trial"Run"

Whisper"in"the"General's"Ear"

How many participants have experience of each pattern?

0" 5" 10" 15" 20" 25"

Ask"for"Help"Big"Jolt"

Bridge6Builder"Brown"Bag"

Champion"Skep?c"Connector"

Corporate"Angel"Corridor"Poli?cs"

Dedicated"Champion"Do"Food"e6Forum"

Early"Adopter"Early"Majority"

Evangelist"External"Valida?on"

Fear"Less"Group"Iden?ty"

Guru"on"Your"Side"Guru"Review"

Hometown"Story"In"Your"Space"

Innovator"Involve"Everyone"

Just"Do"It"Just"Enough"

Just"Say"Thanks"Local"Sponsor"

Loca?on,"Loca?on,"Loca?on"Mentor"

Next"Steps"Personal"Touch"

Piggyback"Plant"the"Seeds"The"Right"Time"Royal"Audience"

Shoulder"to"Cry"On"Small"Successes"Smell"of"Success"

Stay"in"Touch"Step"by"Step"Study"Group"

Sustained"Momentum"Tailor"Made"

Test"the"Waters"Time"for"Reflec?on"

Token"Trial"Run"

Whisper"in"the"General's"Ear"

How many participants want to gain each pattern?

Co-occurrencenetwork of patterns

Walter J. OngRoutledge, 1982, 2002

Orality and Literacy

Yet, despite the oral roots of all verbalization, the scientific and literary study of language and literature has for centuries, until quite recent years, shied away from orality.

Human society first formed itself with the aid of oral speech, becoming literate very late in its history, and at first only in certain groups. Homo Sapiens has been in existence for between 30,000 and 50,000 years. The earliest script dates from only 6000 years ago. (p.2)

(p.8)

Walter J. Ong, Orality and Literacy, Routledge, 1982, 2002




We --- readers of books such as this --- are so literate that it is very difficult for us to conceive of an oral universe. This book will attempt to overcome our biases in some degree and to open new ways to understanding. (p.2)

We --- writers of pattern languages --- are so literate that it is very difficult for us to conceive of an oral universe of pattern languages. This talk attempts to overcome our biases in some degree and to open new ways to understanding.

The distancing which writing effects develops a new kind of precision in verbalization by removing it from the rich but chaotic existential context of much oral utterance.

written words sharpen analysis, for the individual words are called on to do more. To make yourself clear without gesture, without facial expression, without intonation, without a real hearer, you have to foresee circumspectly all possible meanings a statement may have for any possible reader in any possible situation, and you have to make your language work so as to come clear all by itself, with no existential context.

So the description of written pattern language tend to be long.

Writingas separating the knower from the known

(p.103)

(p.102)


Adventure Playground 670 words2 photos, 1 sketch(C. Alexander)

A castle, made of cartons, rocks, and old branches, by a group of children for themselves, is worth a thousand perfectly detailed, exactly finished castles, made for them in a factory.

Play has many functions; it gives children a chance to be together, a chance to use their bodies, to build muscles, and to test new skills. But above all, play is a function of the imagination. A child’s play is his way of dealing with the issues of his growth, of relieving tensions and exploring the future. It reflects directly the problems and joys of his social reality. Children come to terms with the world, wrestle with their pictures of it, and reform these pictures constantly, through those adventures of imagination we call play.

Therefore:Set up a playground for the children in each neighborhood. Not a highly finished playground, with asphalt and swings, but a place with raw materials of all kinds --- nets, boxes, barrels, trees, ropes, simple tools, frames, grass, and water --- where children can create and re-create playgrounds of their own.

Any kind of playground which disturbs, or reduces, the role of imagination and makes the child more passive, more the recipient of someone else’s imagination, may look nice, may be clean, may be safe, may be health --- but it just cannot satisfy the fundamental need which play is all about. And, to put it bluntly, it is a waste of time and money. Huge abstract sculptured playlands are just as bad as asphalt playgrounds and jungle gyms. They are not just sterile; they are useless. The functions they perform have nothing to do with the child’s most basic needs. ... This need for adventurous and imaginative play is taken care of handily in small towns and in the countryside, where children have access to raw materials, space, and a somewhat comprehensible environment. In cities, however, it has become a pressing concern. The world of private toys and asphalt playgrounds does not provide the proper settings for this kind of play.

Abstract Factory 2,159 words2 diagram83 lines code

(GoF’s Design Patterns)

182 words1 illustration

Jump In(Learning Patterns)

No.

“The great composer does not set to work because he is inspired, but be-

FRPHV�LQVSLUHG�EHFDXVH�KH�LV�ZRUNLQJ�´�²�(UQHVW�1HZPDQ

“Make up your mind to act decidedly and take the consequences. No good

LV�HYHU�GRQH�LQ�WKLV�ZRUOG�E\�KHVLWDWLRQ�´�²�7KRPDV�+X[OH\

³<RX�QHYHU�NQRZ�ZKDW�\RX�FDQ�GR�WLOO�\RX�WU\�´�²�3URYHUE

Do not hesitate to jump into a new learning environment.

Jump In

No.4

You have already found the new environment wihch you wish to be in and about to start a new challenge.


You are still doubtful whether the community is really suitable for you.

�� ,W�LV�GLI¿FXOW�WR�NQRZ�WKH�DFWXDO�VWDWH�RI�D�FRPPXQLW\�IURP�WKH�RXWVLGH�� It is not until you learn that you really understand what you wanted to

learn.

ź�7KHUHIRUH

Jump into the new environment for your learning.

�� -RLQ�WKH�FRPPXQLW\��SURMHFW��RU�FODVV��DQG�GLYH�LQWR�WKH�¿HOG�� Observe the events that happen there and learn from the members.�� Engage in the activity with all your effort as possible.�� After some time, evaluate the environment and rebuild a plan of your

learning.

68 words4 photos

Cheer-up Cookies(Generative Beauty Patterns)

31Cheer-up CookiesRecover your mood

Solution

Context

Problem

Your feelings are unclear.

You can’t figure out

why your feelings are so pent-up.

Know a way

that would cheer you up.

Listen to your favorite music;

eat your favorite food; go out to the movies;

talk to a friend.

If you know what would cheer you up,

you can always be in a good mood.

▶ 28. Lavish Makeover 37. Space Out

Adventure Playground 670 words2 photos, 1 sketch

Abstract Factory 2,159 words2 diagram83 lines code

182 words1 illustration

Jump In

68 words4 photos

Cheer-up Cookies

(C. Alexander)

(GoF’s Design Patterns)

(Leaerning Patterns)

(Generative Beauty Patterns)

PL1.0

PL2.0

PL3.0

Pattern Languages as Media for Narrative & Dialogues

Frequent Advices & Questions

“Write more sentences.”

for our pattern languages

We intentionally try to keep short and simple sentences !

#1


Narrative as Oral Memory


In an oral culture, knowledge, once acquired, had to be constantly repeated or it would be lost.

Sustained thought in an oral culture is tied to communication.

(p.23)

(p.34)

Because of their size and complexity of scenes and actions, narrative of this sort are often the roomiest repositories of an oral culture’s lore. (p.137)

Narrative as Forming a Unity

the spoken word forms human beings into close-knit groups. When a speaker is addressing an audience, the members of the audience normally become a unity, with themselves and with the speaker. (p.73)

writing and print isolate. (p.73)



“Add Examples.”


#2

Learning Patterns

No.

“The great composer does not set to work because he is inspired, but be-

FRPHV�LQVSLUHG�EHFDXVH�KH�LV�ZRUNLQJ�´�²�(UQHVW�1HZPDQ

“Make up your mind to act decidedly and take the consequences. No good

LV�HYHU�GRQH�LQ�WKLV�ZRUOG�E\�KHVLWDWLRQ�´�²�7KRPDV�+X[OH\

³<RX�QHYHU�NQRZ�ZKDW�\RX�FDQ�GR�WLOO�\RX�WU\�´�²�3URYHUE

Do not hesitate to jump into a new learning environment.

Jump In

No.4

You have already found the new environment wihch you wish to be in and about to start a new challenge.


You are still doubtful whether the community is really suitable for you.

�� ,W�LV�GLI¿FXOW�WR�NQRZ�WKH�DFWXDO�VWDWH�RI�D�FRPPXQLW\�IURP�WKH�RXWVLGH�� It is not until you learn that you really understand what you wanted to

learn.

ź�7KHUHIRUH

Jump into the new environment for your learning.

�� -RLQ�WKH�FRPPXQLW\��SURMHFW��RU�FODVV��DQG�GLYH�LQWR�WKH�¿HOG�� Observe the events that happen there and learn from the members.�� Engage in the activity with all your effort as possible.�� After some time, evaluate the environment and rebuild a plan of your

learning.


“Add Examples.”


We intentionally omit the examples, because we believe that they should be complemented in the conversation, like in workshops.

#2


Walter J. OngRoutledge, 1982, 2002


And, one more lesson from ...

The electric age is also an age of `secondary orality’, the orality of telephone, radio, and television, which depends on writing and print for its existence.

with telephone, radio, television and various kinds of sound tape, electric technology has brought us into the age of `secondary orality’. This new orality has striking resemblances to the old in its participatory mystique, its fostering of a communal sense, its concentration on the present moment, and even its use of formulas. But it is essentially a more deliberate and self-conscious orality, based permanently on the use of writing and print, which are essential for the manufacture and operation of the equipment and for its use as well.

Secondary Orality


(p.3)

(p.133)

Secondary orality is both remarkably like and remarkably unlike primary orality. Like primary orality, secondary orality has generated a strong group sense, for listening to spoken words forms hearers into a group, a true audience, just as reading written or printed texts turns individuals in on themselves. But secondary orality generates a sense for groups immeasurably larger than those of primary oral culture --- McLuhan’s `global village’.

Worthwhile exploring new ways of pattern languages in the age of `secondary orality.’

Secondary Orality

Various kinds of residual orality as well as the `literate orality’ of the secondary oral culture induced by radio and television await in-depth study.

(p.134)

(p.157)


Pattern Languages Filming Project

- making videos for sharing patterns in a pattern language

- making a documentary film about the idea, history, and community of pattern languages

- Using videos rather than texts in sharing pattern languages

Worthwhile exploring new ways of pattern languages in the age of `secondary orality.’

Holistic Approach

THE QUALITY WITHOUT A NAME

There is a central quality which is the root criterion of life and spirit in a man, a town, a building, or a wilderness. This quality is objective and precise, but it cannot be named.

C. Alexander, The Timeless Way of Building, Oxford University Press, 1979.

Quality Without A Name

alive whole

freeexact

egoless

comfortableeternal

The Nature of Order, Book One: The Phenomenon of Life,Christopher Alexander, Center for Environmental Structure, 2002

Chapter One, The Phenomenon of Life

Throughout this book, I shall be looking for a broad conception of life, in which each things --- regardless of what it is --- has some degree of life.Each stone, rather, and piece of concrete has some degree of life.



Thus life is not a limited mechanical concept which applies to self-producing biological machines.It is a quality which inheres in space itself, and applies to every brick, every stone, every person, every physical structure of any kind at all, that appears in space. Each thing has its life.

To produce this life, we must first see how life springs from wholeness, and indeed how life is wholeness. Wholeness exists all around us, and life springs from it.



Pattern Mining

2008～2009 @Keio UniversityLearning Patterns Project

Takashi Iba, Mami Sakamoto, Toko Miyake, "How to Write Tacit Knowledge as a Pattern Language: Media Design for Spontaneous and Collaborative Communities", Procedia - Social and Behavioral Sciences, Volume 26, 2011, Pages 46–54http://www.sciencedirect.com/science/article/pii/S1877042811023883



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Learning Patterns Project2008～2009@Keio University






Oct.1,2008

Oct.8,2008

Oct.15,2008

Oct.29,2008

Learning Patterns Project

Nov.5,2008

Nov.7,2008

Nov.12,2008

Nov.26,2008


Dec.3,2008

Dec.12,2008

Dec.17,2008

Dec 21,2008


Jan.14,2008

Jan.21,2008


Jan.7,2009


Writing Process of the pattern “Learning by Teaching”

“How to Write Tacit Knowledge As a Pattern Language: Media Design for Spontaneous and Collaborative Communities” (Takashi Iba, Mami Sakamoto, and Toko Miyake, COINs2010)

No.10「身体で覚える」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/23 09/01/07 09/03/06 09/03/0908/11/05 08/11/26 09/01/04 09/03/0708/11/05

No.15「学びのなかの遊び」

井庭

加藤

三宅

下西

小林

‘08/11/26 ‘08/12/03

花房

四元

飯田

坂本

‘08/12/10 ‘08/12/21 ‘08/12/27 ‘09/01/04‘08/12/31

‘09/03/07‘09/01/07 ‘09/03/09‘09/03/08‘09/03/08‘09/03/07

No.12「言語のシャワー」

井庭

加藤

三宅

下西

小林

08/12/21

花房

四元

飯田

坂本

09/01/0409/01/0208/12/20 08/12/21 08/12/24 09/01/05 09/03/07

09/03/0709/03/0809/03/08

09/03/09

No.22「右脳と左脳のスイッチ」

井庭

加藤

三宅

下西

小林

‘08/11/20 ‘08/12/22‘08/12/17

花房

四元

飯田

坂本

‘09/01/04‘09/03/10‘08/12/31

‘09/03/10‘09/01/07

‘09/03/10

‘09/03/11

‘09/03/12‘09/03/11

No.31「教えることによる学び」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/21 08/12/27 09/01/07 09/03/1308/11/07 08/12/17 08/12/21 08/12/31 09/03/1209/03/12

No.38「断固たる決意」

井庭

加藤

三宅

下西

小林

08/10/31

花房

四元

飯田

坂本

09/03/1208/11/12 09/03/12 09/03/1308/11/1108/11/0908/11/02 08/11/0708/11/01

No.0「学びのデザイン」

井庭

加藤

三宅

下西

小林

09/02/07 09/02/0909/02/05

花房

四元

飯田

坂本

09/02/09

No.5「知のワクワク！」

井庭

加藤

三宅

下西

小林

08/12/10

花房

四元

飯田

坂本

08/12/21 08/12/3108/12/27 09/01/07 09/02/1108/12/10 08/12/17 09/02/11

No.10「身体で覚える」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/23 09/01/07 09/03/06 09/03/0908/11/05 08/11/26 09/01/04 09/03/0708/11/05

No.15「学びのなかの遊び」

井庭

加藤

三宅

下西

小林

‘08/11/26 ‘08/12/03

花房

四元

飯田

坂本

‘08/12/10 ‘08/12/21 ‘08/12/27 ‘09/01/04‘08/12/31

‘09/03/07‘09/01/07 ‘09/03/09‘09/03/08‘09/03/08‘09/03/07

No.20「広がりと掘り下げの「Ｔ字」」

井庭

加藤

三宅

下西

小林

‘08/12/21‘08/12/17

花房

四元

飯田

坂本

‘09/01/04‘09/01/04 ‘09/01/07 ‘09/03/09 ‘09/03/09

‘09/03/11‘09/03/12

No.25「自分で考える」

井庭

加藤

三宅

下西

小林

‘08/11/12

花房

四元

飯田

坂本

‘09/03/10

‘09/03/10‘09/03/10‘09/03/10‘09/03/11‘09/03/11

‘09/03/12

No.30「ライバルをつくる」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

09/01/14 09/03/10

09/03/11‘09/0310’09/0311‘09/0310

09/03/1209/01/21

No.35「書き上げたは道半ば」

井庭

加藤

三宅

下西

小林

‘08/11/26 ‘09/01/07‘08/12/17

花房

四元

飯田

坂本

‘09/01/04’09/01/04‘08/12/17 ‘08/12/21 ‘09/03/12 ‘09/03/13

‘09/03/12‘09/03/12‘09/03/12‘09/03/12

No.1「SFCマインドをつかむ」

井庭

加藤

三宅

下西

小林

08/12/17

花房

四元

飯田

坂本

08/12/10 09/01/0408/12/31 09/01/06 09/02/0909/02/0909/02/07

No.6「研究への情熱」

井庭

加藤

三宅

下西

小林

08/11/20

花房

四元

飯田

坂本

08/11/24 09/01/0409/01/04 09/01/07 09/02/11 09/02/11

No.11「成長の発見」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/23 09/01/07 09/03/06 09/03/0908/11/05 09/01/0409/01/02 09/03/0708/11/05

No.16「動きのなかで考える」

井庭

加藤

三宅

下西

小林

‘08/10/26

花房

四元

飯田

坂本

‘09/03/09‘08/11/12‘08/10/28 ‘08/10/28 ‘08/10/28 ‘09/03/09‘09/03/09

‘09/03/09

No.21「隠れた関係性から学ぶ」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/11/23 09/03/1208/12/21 08/12/25 09/01/02 09/01/05 09/03/1009/03/1109/03/1109/03/10

No.26「目的へのアプローチ」

井庭

加藤

三宅

下西

小林

‘08/12/21 ‘08/12/27

花房

四元

飯田

坂本

‘09/01/07 ‘09/03/10

‘09/03/10

‘09/03/10‘09/03/10

‘09/03/11

‘09/03/11

‘09/03/12

No.31「教えることによる学び」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/21 08/12/27 09/01/07 09/03/1308/11/07 08/12/17 08/12/21 08/12/31 09/03/1209/03/12

No.36「ゴール前のアクセル」

井庭

加藤

三宅

下西

小林

‘08/12/21‘08/11/12

花房

四元

飯田

坂本

‘09/01/07 ‘09/03/12

‘09/03/12‘09/03/12‘09/03/13‘09/03/12

‘09/03/13‘08/12/10

No.2「研究プロジェクト中心」

井庭

加藤

三宅

下西

小林

08/12/10

花房

四元

飯田

坂本

08/12/21 08/12/25 09/02/07 09/02/09 09/02/09

No.7「まずはつかる」

井庭

加藤

三宅

下西

小林

08/11/22

花房

四元

飯田

坂本

09/01/0409/01/02 09/01/05 09/03/06 09/03/0908/11/20

09/03/0609/03/0709/03/07

No.12「言語のシャワー」

井庭

加藤

三宅

下西

小林

08/12/21

花房

四元

飯田

坂本

09/01/0409/01/0208/12/20 08/12/21 08/12/24 09/01/05 09/03/07

09/03/0709/03/0809/03/08

09/03/09

No.17「フィールドに飛び込む」

井庭

加藤

三宅

下西

小林

‘08/11/26 ‘08/12/27‘08/12/10

花房

四元

飯田

坂本

‘09/03/09 ‘09/03/09‘09/03/09

‘09/03/09‘09/01/07‘08/12/30‘09/01/04

No.22「右脳と左脳のスイッチ」

井庭

加藤

三宅

下西

小林

‘08/11/20 ‘08/12/22‘08/12/17

花房

四元

飯田

坂本

‘09/01/04‘09/03/10‘08/12/31

‘09/03/10‘09/01/07

‘09/03/10

‘09/03/11

‘09/03/12‘09/03/11

No.27「捨てる勇気」

井庭

加藤

三宅

下西

小林

‘08/11/10‘08/11/02

花房

四元

飯田

坂本

‘09/03/10‘08/11/05 ‘08/11/12‘09/03/11‘09/03/10‘09/03/11‘09/03/10

‘09/03/12

No.32「外国語の普段使い」

井庭

加藤

三宅

下西

小林

‘08/12/21 ‘08/12/27‘08/12/10

花房

四元

飯田

坂本

‘09/01/07‘09/01/04‘08/12/31 ‘09/03/12

‘09/03/12’09/03/12‘09/03/12

‘09/03/13

No.37「セルフプロデュース」

井庭

加藤

三宅

下西

小林

‘08/12/31

花房

四元

飯田

坂本

‘09/01/07 ‘09/03/12

‘09/03/12‘09/03/12‘09/03/13‘09/03/12

‘09/03/13‘08/12/22‘08/12/10

No.3「SFCをつくる」

井庭

加藤

三宅

下西

小林

08/12/2108/12/17

花房

四元

飯田

坂本

08/12/17 09/01/04 09/01/07 09/02/0709/02/09

09/02/09

No.8「「まねぶ」ことから」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/10/30 09/03/0908/11/05 08/11/12 09/03/0608/11/01 08/11/05 08/11/12 08/11/1209/03/0609/03/0709/03/07

08/11/12

No.13「アウトプットからはじまる学び」

井庭

加藤

三宅

下西

小林

‘08/11/02 ‘08/11/05‘08/10/31

花房

四元

飯田

坂本

‘09/01/10 ‘09/01/12 ‘09/03/07‘09/03/07

‘09/03/08‘09/03/08 ‘09/03/09

No.18「偶有的な出会い」

井庭

加藤

三宅

下西

小林

08/12/10

花房

四元

飯田

坂本

08/12/21 09/01/0408/12/3108/12/27 09/01/07 09/03/09 09/03/09

09/03/11 09/03/1208/12/10 08/12/17

No.23「「鳥の眼」と「虫の眼」」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/21 08/12/27 09/01/07 09/03/10

09/03/1109/03/1009/03/1009/03/11

09/03/1208/12/10 08/12/17

No.28「学びの共同体をつくる」

08/12/21 08/12/21 09/01/0408/12/27 09/01/07 09/03/1109/03/10

09/03/1009/03/11

09/03/1209/03/1008/12/1708/12/03

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

No.33[「小さく産んで大きく育てる」

井庭

加藤

三宅

下西

小林

09/01/14

花房

四元

飯田

坂本

09/01/21 09/03/12 09/03/1309/03/12

No.38「断固たる決意」

井庭

加藤

三宅

下西

小林

08/10/31

花房

四元

飯田

坂本

09/03/1208/11/12 09/03/12 09/03/1308/11/1108/11/0908/11/02 08/11/0708/11/01

No.4「学びの竜巻」

井庭

加藤

三宅

下西

小林

08/10/28

花房

四元

飯田

坂本

09/02/1108/10/2808/10/28 09/02/11

No.9「教わり上手になる」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/10 08/12/27 09/01/07 09/03/06 09/03/0908/11/20 08/12/21 08/12/31 09/03/07

No.14「プロトタイピング」

井庭

加藤

三宅

下西

小林

‘08/11/26 ‘08/12/03

花房

四元

飯田

坂本

‘08/12/10 ‘08/12/21 ‘08/12/27 ‘09/01/04‘08/12/31

‘09/03/07‘09/01/07 ‘09/03/09‘09/03/08‘09/03/08‘09/03/07

No.19「フロンティアンテナ」

井庭

加藤

三宅

下西

小林

09/03/09

花房

四元

飯田

坂本

09/03/1109/03/09 09/03/1208/10/28 08/10/29

08/10/31 08/11/05 08/11/08 08/11/10 09/03/10 09/03/1109/03/10

09/03/1009/03/11

09/03/1208/10/31

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

No.26「量は質を生む」

No.29「「はなす」ことでわかる」

井庭

加藤

三宅

下西

小林

花房

四元

飯田

坂本

08/12/21 08/12/27 09/01/07 09/03/10

09/03/1109/03/1009/03/1109/03/1009/03/10

09/03/1208/11/07 08/11/26 08/12/21 08/12/31

No.34「魅せる力」

井庭

加藤

三宅

下西

小林

‘08/11/20 ‘08/12/24

花房

四元

飯田

坂本

‘09/03/12’09/03/12‘09/03/12’09/03/12

‘09/03/12 ‘09/03/13‘09/01/06‘08/12/31

No.39「突き抜ける」

井庭

加藤

三宅

下西

小林

‘09/01/04‘09/01/05‘08/12/25

花房

四元

飯田

坂本

‘09/03/12‘09/01/04‘09/01/02

‘09/03/12‘09/03/12‘09/03/13‘09/03/12

‘09/03/13

Holistic Pattern Mining

1. Element Mining

2. Visual Clustering

3. Seed Making

Presentation Patterns Project2011@Keio University










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1. Element Mining


3. Seed Making


(Video)https://vimeo.com/51299800

https://vimeo.com/51299800

https://vimeo.com/51299800

Generative Beauty ProjectSince Sep., 2011


1. Element Mining


3. Seed Making


“What this pattern says is trivial.”


We believe that all elements constituting a whole should be written, regardless of well-known or not. It is because the language will be used for describing experiences in narrative and conversation.

#3

ThreeInterrelatedConcepts Pattern Language 3.0

Oral Language

Holistic Approach

What are potential domains where Pattern Language can be applied to?

Potential DomainsLanguagesPatternof

What are the potentiality of people who can write pattern languages?

PotentialWriters

ityPatternof

What are significant applications of pattern languages for people on earth?

PotentialSave the world

lyLanguagesPattern

Japan's 3.11 Earthquake & Tsunami

Pattern Languages for Disaster Prevention

& Emergency Treatmentmust help people survivein the future earthquakes.

http://www.japanfocus.org/japans-3.11-earthquake-tsunami-atomic-meltdown

http://www.japanfocus.org/japans-3.11-earthquake-tsunami-atomic-meltdown

Collaboration for True Happiness

Pattern Languages for folk-knowledge and values

Re-Designing Organizational Rules, Customs, and Cultures

Context

Problem

Solution

Problem Finding

Problem Solving

design

Design = Problem Finding + Problem Solving

C. Alexander, Notes on the Synthesis of Form, Harvard University Press, 1964

Pattern Languagesare hopes for the future.

Pattern Language 3.0Writing Pattern Languages for Human Actions

Invited Talk at PLoP2012 (Oct. 19,2012)

Takashi IbaFaculty of Policy ManagementKeio Universityhttp://twitter.com/taka_ibahttp://creativesystemslab.blogspot.jp/

Pattern Languagesare hopes for the future.



