Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
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5<br />
The main c<strong>as</strong>e, Extreme <strong>Design</strong>, h<strong>as</strong> been carefully documented<br />
<strong>and</strong> presented in Chapter 5 to allow the reader to follow my argumentation.<br />
1.2.1<br />
Analyses<br />
of<br />
the<br />
data<br />
This research h<strong>as</strong> a qualitative <strong>and</strong> explorative nature <strong>and</strong> the analysis h<strong>as</strong><br />
been data-b<strong>as</strong>ed, meaning that there were no pre-existing categories <strong>and</strong> that,<br />
for example, all the themes I present in Chapter 5 emerged from the data.<br />
In the co-design gatherings that I studied there w<strong>as</strong> always more than one<br />
group of participants working simultaneously around a similar t<strong>as</strong>k, meaning<br />
that I obtained data from several similar settings in which different people<br />
participated. The large number of videos provided flexibility when choosing<br />
material into analyses with appropriate quality <strong>and</strong> allowed comparisons between<br />
the performances guided by me <strong>and</strong> those guided by others.<br />
I applied interaction analysis (Jordan & Henderson 1995) <strong>as</strong> analytical<br />
foci to put attention on “the shape of an event, its’ high <strong>and</strong> low points,<br />
the relaxed <strong>and</strong> frenzied segments, <strong>and</strong> the temporal ordering of talk <strong>and</strong><br />
nonverbal activity” (ibid., Chapter 6, p 5). The steps towards the analysis<br />
followed the path of first creating a content log with headings <strong>and</strong> a<br />
brief summary of events, then marking any interesting parts on the log,<br />
organizing group sessions to get potentially significant observations from<br />
other researchers, <strong>and</strong> finally extending the observations individually by<br />
watching certain segments over <strong>and</strong> over again. Subsequently, I worked<br />
with Schechner’s (1985; 1988/2003; 2006) performance theory to make<br />
sense of the emerging observations.<br />
I arrived at my conclusions by following this iterative process of analysing<br />
the data but also engaging in interplay between the experiments,<br />
analysis <strong>and</strong> writing, <strong>as</strong> the next chapters will demonstrate. The research<br />
w<strong>as</strong> not guided by any predetermined framework; instead, I developed<br />
the Play framework gradually <strong>as</strong> it influenced the <strong>structure</strong> of the later<br />
c<strong>as</strong>es. In addition, I have continuously published <strong>and</strong> lectured to test <strong>and</strong><br />
develop my underst<strong>and</strong>ing of co-design <strong>and</strong> design <strong>games</strong>.<br />
1.3<br />
Outline<br />
of<br />
the<br />
dissertation<br />
This dissertation can be divided roughly into three parts: The first three<br />
chapters illustrate the development of the Play framework through the interplay<br />
between experiments <strong>and</strong> the related literature. The second part, Chapter<br />
4, presents the implementation of the Play framework in the Extreme<br />
<strong>Design</strong> project. Thirdly, the framework is further rephr<strong>as</strong>ed <strong>and</strong> discussed<br />
in Chapters 5 <strong>and</strong> 6 b<strong>as</strong>ed on gained experiences. The research approach,<br />
described in Chapter 1, h<strong>as</strong> influenced the way I have organized the dissertation<br />
to move from empirical co-design experiments to literature <strong>and</strong> back to<br />
co-design again. An overview of the individual chapters is given below:<br />
19