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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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presented earlier, we may analyse the way performance comes together<br />

<strong>as</strong> a combination of these different participants’ input. This may incre<strong>as</strong>e<br />

underst<strong>and</strong>ing of the expectations put on involving users, interest groups,<br />

a development team <strong>and</strong> researchers in the early design stages. I will first<br />

discuss it in general terms <strong>and</strong> then through empirical examples from the<br />

Extreme <strong>Design</strong> project.<br />

Since a design <strong>games</strong> driven approach puts emph<strong>as</strong>is on co-constructing<br />

future possibilities, it is not a process where researchers gather information,<br />

interpret it <strong>and</strong> then communicate the results. Instead, it builds<br />

on a knowledge creation process where several people’s input is vital. We<br />

can study it through the two performance process models introduced at<br />

the end of the l<strong>as</strong>t chapter (page 171) by starting with the full performance<br />

process <strong>and</strong> then focusing on a co-design gathering.<br />

From the knowledge creation point of view, proto-performance consists<br />

of three sub ph<strong>as</strong>es. The first ph<strong>as</strong>e concentrates on producing general<br />

knowledge about participant’s attitudes, skills <strong>and</strong> expectations <strong>as</strong><br />

they relate to the project: it is about crafting a common vision for the<br />

coming project. The second ph<strong>as</strong>e takes some questions addressed in the<br />

first ph<strong>as</strong>e under further study <strong>and</strong> transforms them into activities/actions.<br />

The knowledge that is produced represents fragmented pieces illustrating<br />

people’s daily lives by focusing on a particular but ambiguous<br />

theme, such <strong>as</strong> living in senior houses. The information includes rather<br />

separate statements <strong>and</strong> pictures about current situations, <strong>and</strong> does not<br />

yet build a consistent image of design opportunities or alternative futures.<br />

The third ph<strong>as</strong>e h<strong>as</strong> to do with clarifying <strong>and</strong> simplifying information by<br />

dissecting data <strong>and</strong> creating ways to approach the rest of the material. It<br />

is about designing frames for co-constructing new knowledge in the next<br />

ph<strong>as</strong>e, which is the actual performance: the co-design gathering.<br />

During the performance, new knowledge starts to take the shape of design<br />

concepts – more detailed <strong>and</strong> consistent stories from the present <strong>and</strong><br />

future. However, it is still rather conceptual, since it h<strong>as</strong> not been evaluated<br />

or tested against implementation dem<strong>and</strong>s. Therefore, in the aftermath, cocreated<br />

knowledge is reflected towards its use context, for example developing<br />

new service models for banks or building new B2B partnerships. After<br />

this, the amount of information can be worked into action points, design<br />

drivers <strong>and</strong> a detailed design brief.<br />

Although we can think of these ph<strong>as</strong>es separately, they share four actions,<br />

which may be explicit or implicit: gathering new information, mixing up<br />

information from different sources, contextualising (interpreting) information<br />

<strong>and</strong> sharing information. These actions all co-exist in the abovementioned<br />

ph<strong>as</strong>es of the performance process, not in chronological order<br />

but <strong>as</strong> an entangled web. Since in a design <strong>games</strong> driven approach the<br />

co-design culminates in co-design gatherings, the four activities are also<br />

more evident in those actions (Figure 55).<br />

185

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