1. Ways of Seeing Instructions for Getting Lost August 07 2009 / The Feast Workshops

2. FRAME A perspective or viewpoint 3. Primary frameworks allow its user to locate, perceive, identify, and label a seemingly infinite number of concrete occurrences. ERVING GOFFMAN / FRAMEWORK ANALYSIS (1972) 4. discover define design develop deploy 5. beginning middle end 6. ready aim fire 7. the creative process a model of The creative process is classically described (Wallas, 1926) asSometimes the goal is not clear. Participants dont always agree preparation incubation illumination verification on how to define the problem. Such cases require a new frame,a new generative metaphor (Schn, 1990), or a new articulation Businesses often describe the process as of the essential question. research development execution of frames + metaphors drawing on a repertoire with experience + values through conversations Agreeing on goals may require iterationmay involvewhich must then be shared with other people.And it frames the situationor selects a metaphor to explain itIt considers experience and values.Reflection begins as a conversation with oneself. These models suggest a tidy, linear structure a feedback loop. Several levels of loops may be nested: beginning middle end- a listing of assumptions and a first approximation of a solution - a primary process for refining the solution Simple sequences sound manageable, even predictable.- a process for agreeing on the goal of the primary process They promise tasks we can schedule and budget. That makes - a process for improving the process of agreeing on the goal them appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resistsThis boot-strapping process (Engelbart, 1962) is a sign of planning; its not a recipe, script, or formula. (How could it be?)learning systems and organizations (Argyis + Schn, 1978). In practice, the process is messy, iterative, and recursive.The creative process is not just iterative; its also recursive. Framed as a sequence, its a plan for achieving a goal It plays out in the large and in the smallin defining the ready aim fire broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, Yet a first shot doesnt always hit the target. Achieving a goal which may not be known in advance. Recursion also suggests may require a few tries; it may require iteration. Iteration is aa procedure that calls or includes itself. Many engineers looping process, using feedback from earlier attempts to define the design process as a recursive function: converge on a goal. Iteration enables participants to calibrate, discover define design develop deploy correct mistakes, build on accidents, add and remove detail, and improve skills through practice. The creative process involves many conversationsaboutgoals and actions to achieve themconversations with The creative process is less like a line and more like a loop: co-creators and colleagues, conversations with oneself. observe reflect make observe reflect make . . .The participants and their language, experience, and valuesaffect the conversations. The process need not begin with observing; it may begin with any step. Boundaries between the steps are not rigid.Conversations about wicked problems especially benefit from Each activity continues throughout the process, e.g., and may requirea variety of views. Some of these views making also involves reflecting and observing.form a habit of engaging (or observing, reflecting, and making) observe reflect make observe reflect make often called design thinking. It might be thought of more observe reflect make observe reflect make accurately as a set of lenses on design conversations observe reflect make observe reflect make or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process: If the goal is clearif we have agreed on how we define a - attention- understanding - searching problem, as in a math problemthen solutions may be implied.- openness - integration - envisioning And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product But some problems are wicked (Rittel, 1969). Their definitionreflects the quality of the creative processand the curiosity depends on point of view; participants can always broadenand determination of the participants. or deepen their understanding and improve their solutions.to understand For such problems, starting and stopping are arbitrary and external to the process. It ends only when we run out of time, money, or patience (energy, will, or gumption). what people wanthow culture is evolving ex to integrate The res plora The goalGe main is to bunera tastive k of ild a shrese gene ar reear torby seeing patternsarch rativ ed unby building consensusgensearcinter e re derstch y sects sear andinExplorefle ch is g ofThe rator reflectcting to co the de The main y re+ mame up siredseera hAt goal task archkin with situafiras st, the is to buof explo interg. idewoas. tion.explo rkcurre ild a rator sectstivereac ratorprocee nt sit shar y re obse t to y re dsua ed sear rvinewl sear and tion unde ch is ng + rey cr ch the pr may rstan to m flecti boeated may oces be ne ding ap ng.artifaalso inv s ite w; of the the ter in ch undacts olv ratescurre rain.or d e ob , esign servi prob ng ho nt sit uatio de sightma arac riesn. es. w constituentscri finiti s + cps ters + is ter ons on + m + su ia + + cepode stor esgoa hypo ts ls iesls the ses implement illuminateincubate prepareiterateve serakessSome steps essential to the creative In the middle, the process as sequence Once an idea has been hatched and refined, ob nneprocess lie outside its core.may take a detour and iterate in a loop. it must still make its way into the world.Communicating the idea to othersnAccepting responsibility for the taskMany creative people have said and building consensus for adoptionand preparing tend to be one-time, that their best ideas came (illumination)are part of the innovation processntioupfront tasks. after putting aside a problem and mbut may lie outside the core creative process. ope s letting it incubate.lturePassing on responsibility to othersrning + culeaving a legacyss expla ining tte + lea le mind gy fulne imagis the final step in the larger process.ing er peopt + enerminiatures + wireframesining the to e ithspec + wh future listen oth th re ssionha tak rkingat it wothumbnails + sketches ming quick g wi ting pafrowmigh d ma to s adva lynvioutlines + prototypes ant me kingactin ibu nta + ite ts wit ry ns contrgean ittio uenflow mo of ac ting earsiora cid tanrsa stit he meentsgib le.in t uscle ialsers. elf nve + cond e n oth onesches olv n with ly inv tioo ing m er ns ing ersa h c xt are nc reas conv it incs as abe on mat atio esntinu o beginoug nte sh rie it co As ing alsak thr ith co g on expe andawing ols + nversMe.guag reflect. hy? d lan and ? Wre an back here cultu step rtant n. w awin ge + n porn the u ca ts im ersatiost lea n yo ha nv r h to cod itmu lf; the ?) W s co unity se doing thi w roughdr gua ers. comm your e we to aiduser sothrse arrks t,cewith ents imme hat wo jec , servition nstitu you ? (W l frametion, ob ages lansa coy ing ra ssnver the slowl y do seve erac , me e th a co rt of g in; e the ed nt, int nts pher s as not pa kin t ar velop onme onme atmoshabegin are de loo ? W ve de vir envir cts,tion who outsi here rs) ha ity, enjects, artifaserva ts theis ne activ obs,Ob cipan e on ? Who desig rk: ople, tivitie Parti your e we (and mewo rk: pe s, ac First re ar hers IOU fra mewo actor Whe nograp AE S fra work: Eth sonsPOEM 4 frame Robin rs Ax Kuma teinsRothsThe main task of evaluative research is to determineEvaluative research intersects making + observing. where prototypes fail to live up to expectations.evaluative The goal is to keep the process on course.research The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms. quality cycleself-regulating systemscientific methodclinical processdesign process interaction loop The creative process is startlingly similar to the quality Like a self-regulating system, the creative process isForming a hypothesis is a special type of creative act.When physicians meet patients, they begin by taking The design process viewed as problem solving (Jones, 1976),Interaction (with computers or the wider world) answers three cycle (Shewart, 1939), popularized in business circles bya classic feedback loop. Measure an essential variable; Framing the creative process as experimenting showsa history and examining the patient; tests may be indicated, problem seeking (Pea, 1987) or turning existing situations into questions: What do you sense? (feel?) How do you learn + plan? the quality management movement (Deming, 1982).compare it to a goal; and act to eliminate any difference.the close tie it has with the domain of science. which contribute to a diagnosis, which indicates therapy. preferred (Simon, 1969) is a variation on the creative process. (know?) How do you change things? (do?) (Verplank, 2000). hypothesissynthesize diagnose compareknow?plan onntck re ati e e min lyzmeasu te at lual?feeact chedo? ervana doexa eritremeobs expeva Copyright 2009 Dubberly Design OfficeInstitute for the Creative Process Dubberly Design Office prepared this concept map as a projectthe nature of the creative process and design thinking. ACAD isDesign and writing by Hugh Dubberly and Shelley Evenson Printed in Canada2501 Harrison Street, #7at the Alberta College of Art+Design of the Institute for the Creative Process at the Alberta College ofa leading centre for education and research, and a catalyst forResearch by ACAD faculty Vera Gartley, Wayne Giles,San Francisco, CA 94110 1407-14 Ave NW Art+Design. The Institute exists to focus and organize activities, creative inquiry and cultural development. Walter May, and Justin Waddell415 648 9799Calgary, AB Canada enterprises, and initiatives of ACAD with regard to the cultivation Creative direction by Jack Chung, Robin Bahr, and Paul PangaroT2N 4R3of dialogue, research, and special projects that directly addressPlease send comments about this model to icp@acad.ca.403 284 7670 the creative process HUGH DUBBERLY, COLLABORATION WITH JACK CHUNG, SHELLEY EVENSON, PAUL PANGARO 8. esbeyond the immediate focus of the conversation or process: If the goal is clearif we have agreed on how we define a- attention- understanding - searching problem, as in a math problemthen solutions may be implied. - openness - integration - envisioning And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product But some problems are wicked (Rittel, 1969). Their definitionreflects the quality of the creative processand the curiosity depends on point of view; participants can always broadenand determination of the participants. or deepen their understanding and improve their solutions.to understand For such problems, starting and stopping are arbitrary and external to the process. It ends only when we run out of time,theplcreative process money, or patience (energy, will, or gumption). a model of what people wanthow culture is evolving ex to integrate The The goalGe main is to b ro The creative process is classically described (Wallas, 1926) asSometimes the goal is not clear. Participants dont always agreeese rat preparation incubation illumination verification on how to define the problem. Such cases require a new frame, ner Businesses often describe the process asa new generative metaphor (Schn, 1990), or a new articulationof the essential question. ativ task uild a research development executione re of g sha reof frames + metaphors drawing on a repertoire with experience + values through conversations Agreeing on goals may require iterationmay involveby seeing patternswhich must then be shared with other people.And it frames the situationor selects a metaphor to explain itIt considers experience and values.Reflection begins as a conversation with oneself. These models suggest a tidy, linear structure a feedback loop. Several levels of loops may be nested: sea ene redarc ory beginning middle end- a listing of assumptions and a first approximation of a solution rch rativ undby building consensusgensearc - a primary process for refining the solution Simple sequences sound manageable, even predictable.- a process for agreeing on the goal of the primary process inte e re ers They promise tasks we can schedule and budget. That makes - a process for improving the process of agreeing on the goal them appealing to people who run organizations and worry aboutrse sea tand Exp minimizing uncertainty and risk. But the creative process resists planning; its not a recipe, script, or formula. (How could it be?)This boot-strapping process (Engelbart, 1962) is a sign oflearning systems and organizations (Argyis + Schn, 1978).cts rch ing The lorato h refl is reflect In practice, the process is messy, iterative, and recursive.The creative process is not just iterative; its also recursive. ecti to c of the The main ry re Framed as a sequence, its a plan for achieving a goal It plays out in the large and in the smallin defining the ready aim fire broadest goals and concepts and refining the smallest details. ng ome dess era hIt branches like a tree, and each choice has ramifications,+mAt goal task earc ir Yet a first shot doesnt always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is awhich may not be known in advance. Recursion also suggestsa procedure that calls or includes itself. Many engineers akin up wit ed sitfi as rst, th is to b of exp h inte looping process, using feedback from earlier attempts to define the design process as a recursive function: converge on a goal. Iteration enables participants to calibrate, discover define design develop deploy g. h id uati exp work e cu uild a lorato rsects correct mistakes, build on accidents, add and remove detail,eas on. and improve skills through practice. The creative process involves many conversationsaboutgoals and actions to achieve themconversations with. realora proc rrenshry ob The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .ct to tory eeds t situ ared resea servin The process need not begin with observing; it may beginco-creators and colleagues, conversations with oneself.The participants and their language, experience, and valuesaffect the conversations. tivenew resea and ation unde rch is g + r with any step. Boundaries between the steps are not rigid.Conversations about wicked problems especially benefit from Each activity continues throughout the process, e.g., and may requirea variety of views. Some of these viewsly c rch the may rstan to eflec making also involves reflecting and observing.form a habit of engaging (or observing, reflecting, and making)bo observe reflect make observe reflect make often called design thinking. It might be thought of more rea maprobd observe reflect make observe reflect makem ti accurately as a set of lenses on design conversations ted y als ces e new ing o ap th ng. observe reflect make observe reflect make or creative conversations. These lenses provide perspective arti o in s ite ; f the c e terr If the goal is clearif we have agreed on how we define a beyond the immediate focus of the conversation or process: - attention- understanding - searching ins cha unda problem, as in a math problemthen solutions may be implied.- openness - integration - envisioning facr ts o volve ates, And we know when to stop. If the goal is less clear, deciding when to stop requires judgment. urr ainThe quality of the conversations is largely responsible for ent .the outcome of the process. The quality of the resulting productr d obs But some problems are wicked (Rittel, 1969). Their definition esig erv n p ing hsitu depends on point of view; participants can always broadenatio or deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and n. external to the process. It ends only when we run out of time, rob owreflects the quality of the creative processand the curiosityand determination of the participants. to understanddef ightsma rac ries money, or patience (energy, will, or gumption). es. co nstiwhat people want exp res lora tuentshow culture is evolving to integrate The The goalGe main is to bu cri initi + cps ters + isnera tastive k of ild a shrese gene ar reear torby seeing patternsarch rativ ed unby building consensusgensearcinter e re derst ter ons on ch y sects sear andinExplorefle ch is g ofThe rator reflectcting to co the de The main y re+ mame up sired + m + suseera hAt goal task archkin with situafiras st, the is to buof explo interg. ideas. tion.woexplo rk t to y re dscurre ild a rator sectsreac ratorprocee nt sit shar y re obse ua ed sear rvinewl sear and tion unde ch is ng + rey cr ch the pr may rstan to m flecti bo tiveia + + cepode stor eseated may oces be ne ding ap ng.artifaalso inv s ite w; of the the ter in ch undacts olv ratescurre rain.or d e ob , nt sit de sight esign servi prob ng ho es. w constituents uation. ma arac riesps ters + iscri finiti s + c goa hypo ts ls ies ter ons on + m + su ia + + cepode stor esgoa hypo tsls the ls iesls the ses sesimplement illuminateincubate prepareiterateve ser implementake illuminatessincubateSome steps essential to the creative In the middle, the process as sequence Once an idea has been hatched and refined, ob nneprocess lie outside its core.may take a detour and iterate in a loop. it must still make its way into the world. prepareCommunicating the idea to othersnAccepting responsibility for the taskMany creative people have said and building consensus for adoptioniterateand preparing tend to be one-time, that their best ideas came (illumination)are part of the innovation processntioupfront tasks. after putting aside a problem and mbut may lie outside the core creative process. ope s letting it incubate.lturePassing on responsibility to othersrning + culeaving a legacyss expla ining tte + lea le mind gy fulne imagis the final step in the larger process.ing er peopt + enerminiatures + wireframesining the to e ithspec + wh future listen oth th re ssionha tak rking veat it wothumbnails + sketches ming quick g wi ting pafrowmigh d ma to s adva lynvioutlines + prototypes ant me kingactin ibu nta + ite ts wit ry ns contrgean ittio uenflow mo of ac ting earsiora cid tanrsa stit he meentsgib le.in t uscle ialsers. elf nve + cond e n oth onesches olv n with er ly inv tioo ing m er ns ing ersa h c xt are nc reas conv it incs as abe on mat atio esntinu o beginoug nte sh rie it co As ing alsak thr ith co g on expe andawing ols + nversMe.guag reflect. hy? w awin ge +dr guaothst lea n yo ha nv n mu lf; the ?) W s co unity se doing thi ers. comm your e we to aiduser s d lan and ? Wre an back here cultu step rtant n. ce porn the u ca ts im ersatio r h to cod it w roughke bs rse arrks t,with ents imme hat wo jec , servi stion nstitu you ? (W l frametion, ob ages lansa coy ing ra ssnver the slowl y do seve erac , me e th a co rt of g in; e the ed nt, int nts pher s as not pa kin t ar velop onme onme atmoshabegin are de loo ? W ve de vir envir cts,nestion who outsi here rs) ha ity, enjects, artifaSome steps essential to the creativeserva ts theis ne activ obOb cipan e on ? Who desig rk: ople, tivitie Parti your e we (and mewo rk: pe s, acs, In the middle, the process as sequence Once an idea has been hatched and refined,process lie outside its core. First re ar hers IOU fra mewo actor Whe nograp AE S fra work: Eth sonsPOEM 4 frame Robin rs Kuma teinsRoths Ax may take a detour and iterate in a loop.a it must still make its way into the world.Communicating the idea to others noAccepting responsibility for the taskMany creative people have said and building consensus for adoptionnand preparing tend to be one-time, that their best ideas came (illumination)are part of the innovation process ntio mThe main task of evaluative research is to determineEvaluative research intersects making + observing.upfront tasks. after putting aside a problem andbut may lie outside the core creative process.where prototypes fail to live up to expectations.opeevaluative The goal is to keep the process on course.es letting it incubate.researchlturPassing on responsibility to others rnin culeaving a legacyslea ple + exp ginin e smin ergylne im gis the final step in the larger process. lain g thaminiatures + wireframes o dfunin er peatt t n The creative process plays an important role in the arts, h ing e fupec + e design, science, and the professions (medicine, engineering,oe law, and business). It has many analogues and synonyms.wh ture g+liste oth res ssion t+ tak rkingwit at it wo quality cycleself-regulating systemscientific methodclinical processdesign process interaction loopthumbnails + sketchesming quicwit pa fro The creative process is startlingly similar to the quality Like a self-regulating system, the creative process isForming a hypothesis is a special type of creative act.When physicians meet patients, they begin by taking The design process viewed as problem solving (Jones, 1976),Interaction (with computers or the wider world) answers three mig nd m cycle (Shewart, 1939), popularized in business circles bya classic feedback loop. Measure an essential variable; Framing the creative process as experimenting showsa history and examining the patient; tests may be indicated, problem seeking (Pea, 1987) or turning existing situations into questions: What do you sense? (feel?) How do you learn + plan? to s adv kith ng ting the quality management movement (Deming, 1982).compare it to a goal; and act to eliminate any difference.the close tie it has with the domain of science. which contribute to a diagnosis, which indicates therapy. preferred (Simon, 1969) is a variation on the creative process. (know?) How do you change things? (do?) (Verplank, 2000). hypothesissynthesizeht m akin nv diagnoseoutlines + prototypes h comparea anta ly + it acti tribuknow?plan ts ry sean g it ge eraticonion ituen wlow emoof a ng onntck re ati e e lyz isio minmeasu te at lual?feeact chedo? ervana doexa eritremeeccidobs expevaat ftanentsarc gib ers const Copyright 2009 Dubberly Design OfficeInstitute for the Creative Process Dubberly Design Office prepared this concept map as a projectthe nature of the creative process and design thinking. ACAD isDesign and writing by Hugh Dubberly and Shelley Evensonthe cle m lsleThe creative process Printed in Canada2501 Harrison Street, #7at the Alberta College of Art+Design of the Institute for the Creative Process at the Alberta College ofa leading centre for education and research, and a catalyst forResearch by ACAD faculty Vera Gartley, Wayne Giles,San Francisco, CA 94110 1407-14 Ave NW Art+Design. The Institute exists to focus and organize activities, creative inquiry and cultural development. Walter May, and Justin Waddell..415 648 9799Calgary, AB Canada enterprises, and initiatives of ACAD with regard to the cultivation Creative direction by Jack Chung, Robin Bahr, and Paul Pangaro ers self nT2N 4R3of dialogue, research, and special projects that directly addressPlease send comments about this model to icp@acad.ca.403 284 7670 oth h one vesin olv witcon xt + red nceinv on h ing mus teria nscre coit in s as a gly ersatiasin nvh esa be g on + ma satio tinu eginougconte n sh perie it con also b the creative process As kingMa rge. t. gua flec y? andawin ols nver th ith g o exis less like a line andlan nd re ? Wh nd a eree a ckltur p ba tant hcu te or w awin ge +p tion.st le n y the an s arn ou c ats imversa mu ; the ?) W is cohndr ith to h conity rself doing aid th dr gua.u ers comm e you e we s to user esw rougoths rkith nts mer hat a ewor bject, servicn w tue imm, o ges, lanatio nsti you g? (W l fra oners e co wly doin vera racti essa vcon rt of th in; slo they ed se t, inte nts, m herethmore like a loop. WITH JACK CHUNG, SHELLEY EVENSON, PAUL PANGAROa as pa king t are elop nmen nme ospins noto ha ev oiro atm beg are ide lo ? W ve d nvir env cts,tion ho uts ere ) ha vity, e jects, artifa rva ts w e o is h ers ti b, bse cipan on th Who esign rk: ac ple, o vitiesO tir oure we? nd d ewo : peo , acti Pa t y reHUGH DUBBERLY, COLLABORATION(aam rk Firs ere a phers IOU fr mewo k: acto Wh nogra s AE S fra ewor Eth inson POEM 4 framb rsrs Ro ax s A Kum steinDUBBERLY ET AL. Rotharch is to determineaking + observing. expectations.ven course. 9. FRAME A perspective or viewpoint 10. Recognition is perception arrested before it has a chance to develop freely. JOHN DEWEY / ART AS EXPERIENCE (1947) 11. Types of instructions 1. Gaining Distance (psychological distance) 2. Ways of Seeing (paying attention)3. Re-framing (design activity) 12. 1. Gaining Distance 13. CONSTRUAL LEVEL THEORY (CLT)OF PSYCHOLOGICAL DISTANCEAnything that we do not experienceas occurring now, here, and to ourselvesis psychologically distant 14. food product concrete source of energy, fast growing plant, abstractsource of ethanol, mazes for children cornfuel 15. 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere) 16. 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere) 2. Thinking about future: projecting events (projecting yourself working on it tomorrow or next year) 17. 3 ways to gain distance 1. Traveling: physically near/far (imagine the problem as being generated here versus elsewhere) 2. Thinking about future: projecting events (projecting yourself working on it tomorrow or next year)3. Considering alternatives: projecting visually (imagine yourself in noisy or better environments) 18. 2. Ways of Seeing 19. Methods for listening/seeing Downloading Yeah, I already know that 20. Methods for listening/seeing Downloading Yeah, I already know thatFactual Look at that! 21. Methods for listening/seeing Downloading Yeah, I already know thatFactual Look at that!Empathetic I know how you feel 22. Methods for listening/seeing Downloading Yeah, I already know thatFactual Look at that!Empathetic I know how you feelGenerative Im connected to something larger 23. Methods for listening/seeing Downloading Yeah, I already know thatFactual Look at that!Empathetic I know how you feelGenerative Im connected to something larger 24. 3. Reframing 25. I see something, I know somethingInsight, Design Patterns = Design Idea JON KOLKO / INTERACTION 09 CONFERENCE (2009) 26. REFRAMING Shifting perspective to see things in a new way 27. REFRAMING Shifting perspective to see things in a new way 28. Get Lost (20 min) 1. Create matrix 2. Free associate 3. Fill in goals and implications 4. Present insights Thanks @Yoshitaka Tokusho 29. INSIGHTS 30. Benjamin Zander on music and passion TED Conferences LLC, Creative Commons (CC) Filmed 2008 31. Types of instructions 1. Gaining Distance (psychological distance) 2. Ways of Seeing (paying attention)3. Re-framing (design activity) 32. Thanks. @bobulate / www.bobulate.com/feast-slides.pdf