Integrating Design Ability in Design Education s Knowledge-oriented Curricula

Transcription

1 Integrating Design Ability in Design Education s Knowledge-oriented Curricula Towards the Creation of a Video Game Design Pedagogical Object Development Tool Seventh International Conference on Design Principles and Practices Danny Godin substitute professor in video game design and studies Patrick Gauvin invited professor in creation and new media March 7, 2013

2 Context Higher education design programs include knowledge-oriented curricula as well as design practice-oriented curricula such as We propose that practical design skills, including design ability, approaches and attitudes, should be integrated in all aspects of design education. Objectives of this presentation: Identify the specific design skills to teach to higher education design students Revisit instructional activities and evaluation methods to align knowledge-based curricula with design skill development

3 In this presentation Propose a pedagogical object based on Van der Maren s pedagogical object development model Van der Maren, 1999 Discuss the iterative integration of the pedagogical object in a video game history class Design practiceoriented curricula Sustainable design User-centered design Studio work Etc. Knowledgeoriented curricula Artifact history Project management Design history Etc. Quick overview of an upcoming research project to explore the potential to implement this object in additional design programs

4 Propose a pedagogical object Requirement Statement Tool Conceptualization Van der Maren, 1999

5 Requirement Statement University standards The program aims to develop creativity in students. «L université étant par nature une institution de recherche (Québec, 2007), la pertinence d une approche d enseignement axée sur le développement de la créativité par opposition à une approche essentiellement technique semble manifeste. Selon le ministère de l éducation du Québec et Technocompétences d abord, la formation universitaire en création numérique doit s attarder «plus spécifiquement au développement de la créativité [ ]». Paquin (2006). Industry standards Prioritize innovation and creation. Responsibilities/required skills include: documentation system design R&D knowledge of games and game development process teamwork. «Nous plaçons les créateurs au centre de notre stratégie. L effet de levier de cette vision d un soutien actif à la créativité et à l innovation créera de la valeur culturelle et économique à l industrie du jeu et nous permettra de gagner des parts de marché» (Tremblay, 2006, pp. 20, 21). Current state and needs Target audience Professionals as teachers, often w/o pedagogy training Any teacher competent in design skills. Beneficiaries Students, adults, aiming at a career in the video game industry Context and cost of use No cost 45hr per class (3hrs/wk.) Computer labs available 20/24hrs

6 Tool Conceptualization Theoretical framework and adopted conceptual tangent Design education premises I believe that visual intelligence, ethical sensibility, and aesthetic intuition can be developed and strengthened through some kind of basic design education. However, instead of having this basic design taught in the first year as a preliminary course, as in the Bauhaus tradition, it would be taught in parallel with studio work through the entire course of study, from the first to last year. (Findeli, 2001, p. 16) [Schön implies that] design is learnable but not didactically or discursively teachable: it can be learned only in and through the practical operations of frame experimentation; design is holistic: its parts cannot be learned in isolation. Rather, it must be learned as a whole, in a molecular way, because to design is to work toward a pattern, a coherent order, a world of meaning comprising all components of a situation (Waks, 2001, p. 44) [Schön s idea of teaching includes] dealing (alongside the novices) with the substantive problems of design, [ ]particularizing the demonstrations/descriptions to specific learners [ ] maintaining relationships with the novices (Waks, 2001, p. 44) All in accordance to Papert & Piaget s constructionist pedagogical method and Bruner s interpretative learning. These [constructed] objects enable observation, trial and error, expression, reflection and sharing with others. The learner is not alone ( ) to learn, everyone uses and requires environmental, cultural and societal resources (free translation, Lebrun, 2002, p. 28) All knowledge is then situated in a context, a culture or a social practice (free translation, Lebrun, 2002, p. 46) IN SUMMARY Design is taught through: Projects Experimentation Mentorship Construction Contextualization Current state and needs Target audience Professionals as teachers, often w/o pedagogy training Any teacher competent in design skills. Beneficiaries Students, adults, aiming at a career in the video game industry Context and cost of use No cost 45hr per class (3hrs/wk.) Computer labs available 20/24hrs

7 Tool Conceptualization Theoretical framework and adopted conceptual tangent Designer Skills Daisy, D. Godin (2013), based on Cross, 1995; Findeli, 2001; Oxman, 2004; Schell, 2008; de Bono, 1988, 2004

8 Tool Conceptualization Theoretical framework and adopted conceptual tangent Systemic approach Complexification "The shift [...] from a problem and solution to a state 1 and state 2 of the system situation" (Findeli, 2001, p. 14) "the complexification of the problem into problématique" (Findeli, 2001, p. 14) Teamwork Construction of conceptual models Communication "use drawing and other modelling media as a mean of problem-solving" (Cross, 1995, p.107) "use non-verbal, graphics/spatial modelling media" (Cross, 1995, p. 111) "Concept mapping can be used for organizing and representing knowledge." (Oxman, 2004, p. 72) "Communication", "Public speaking", "Technical writing" (Schell, 2008, pp. 2-4) Listening "to your team", "to your audience", "to your game", "to your client", "to your self" (Schell, 2008, pp. 4-6) Cognitive skills Constructive approach Affective skills Knowledge ReflectIon Solution-orientated thinking Creativity Tolerance for uncertainty Ethical responsibility "Animation", "Anthoropology", "Architecture", "Business", "Cinematography", "Economics", "Engineering", "History", "Management", "Mathematics", "Music", "Psychology", "Sound design", "Visual arts" (Schell, 2008, pp. 2-4) Competence in praxis appears [...] by knowing where to find [knowledge], which specific kind of knowledge to apply in a particular situation, and how to use it when needed (Oxman, 2004, p. 65) "adopt a solution focusing strategies" (Cross, 1995, p.111) "Brainstorming" (Schell, 2008, p. 3) "Produce novel unexpeted solutions" (Cross, 1995, p.107) "Apply imagination and constructive forethought to practical problems" (Cross, 1995, p. 107) certaines aptitudes et habiletés de pensée : «La créativité peut s exprimer dans le règlement des conflits sociaux» (de Bono, 2004, p. 337). La pensée latérale que l on associe à la créativité est «un élément clé de la pensée constructive ( ) consistant à résoudre les conflits en dégageant une issue» (de Bono, 1988, p. 174). "Tolerate incertainty, working with incomplete information" (Cross, 1995, p.107) "Resolve ill-defined problems" (Cross, 1995, p. 111) "design responsibility means that designers always should be conscious of the fact that, each time they engage themselves in a design project, they somehow recreate the world." (Findeli, 2001, p. 14) Cross, 1995; Findeli, 2001; Oxman, 2004; Schell, 2008; de Bono, 1988, 2004

9 Tool Conceptualization Theoretical framework and adopted conceptual tangent Metacognition [T]he fundamental skills of creativity are really action-oriented metacognitive guides that operate in concert with self-regulation ( ) to sustain and enhance creative thinking (Hargrove & Rice, 2007, p. 161). Unfortunately, no pedagogical tool to develop metacognition for creativity exists (Oxman, 1999, cited by Hargrove & Rice, 2007) We created a flexible pedagogical object to enable students to create and develop the skills enumerated in the Design Skill Daisy. Hargrove, R., & Rice, A. (2007). Creating Creativity in the Design Studio. Communication présentée au CELA Annual Conference at Penn State University, North Carolina State University.

10 Tool Conceptualization Object setup and anticipated iterative modifications Historical concepts Traditional lecturing approach (PowerPoint) Identification of characteristics of genres Retracing the history of genres Oral presentations Research on genres Visual bb and Adventure Game Studio Playable prototypes Explanatory analysis of design from a historical point of view.

11 Tool Conceptualization Object setup and anticipated iterative modifications Systemic approach Teamwork Cognitive skills Constructive approach Affective skills Complexification Construction of conceptual models Communication Listening Knowledge Reflection Solution-orientated thinking Creativity Tolerance for uncertainty Ethical responsibility To be developed To be developed Work in teams Oral presentations Technology constraints Academic constraints (analysis of design) Research about game genres Programming skills Analysis of design Game development Game development New design constraints New development environment To be developed

12 Student work Using Visual Batari BASIC Nano Ninja Game world > screen size Complex jumping, climbing and immunity mechanics 2012 Jeakim-Bastien Hamel [untitled space project] Game world > screen size Space themes reminiscent of Atari games 2012 Éliane Prégent La biscotte Game world size = screen size Sexual themes recalling Mystique Softwares s games 2012 Loïc Lorriaux Saison des amours Game world size = screen size Sexual themes recalling Mystique Softwares s games 2013 Michel Baillargeon

13 Student work Using Visual Batari BASIC Main difference between 2012 and 2013: Inclusion of design analysis paper Apparent effects of the inclusion of design analysis paper According to Jerome Bruner (cited by Lebrun), learning has an important culturally constructed aspect that enables the contextualization of knowledge Better or worse? Closer to original game development paradigm and themes La biscotte 2012 Loïc Lorriaux Loss of reinterpretation of tools, themes and videogame standards (easier time writing the paper?) Nano Ninja 2012 Jeakim-Bastien Hamel Saison des amours 2013 Michel Baillargeon [untitled space project] 2012 Éliane Prégent Lebrun, M. (2002). Courants pédagogiques et technologies de l éducation. Louvainla-Neuve: Institut de pédagogie universitaire et des multimédias.

14 Tool Conceptualization Object setup and anticipated iterative modifications Expected modification Enhanced analysis of design Problematization/complexification of assignments (which aspects of video game history are commented-on or used in the design) Ethical considerations (society, perception of industry, virtues and motivations) Communication, reflection, lateral thinking (creativity) and metacognition (focus-group style discussion about exercise) Conceptual models of historical concepts and genres Timeline & relationships between concepts Construction of conceptual model and the ability to communicate non-verbally The Metagame collectable-card-game contest Research and reflection Lateral thinking (creativity) Knowledge about video game history

15 Overview of upcoming research project The new pedagogical object will be implemented in video game design higher-education programs in Montréal, Canada (and you?) Secondary aim: develop an assessment tool for object implementation Evaluation though customized surveys administered twice per semester and addressed to: Teachers Students Target 3 aspects of design skill development: (1) integration of object in instructional activities and evaluation methods, (2) students' skill development, using the students abilities at the beginning of the semester as a comparison point and (3) its effect on the learned skills and knowledge targeted by the curricula (i.e. history, management, etc.).

16 Thank you! Contact Danny Godin substitute professor in video game design and studies Patrick Gauvin invited professor in creation and new media References Cross, N. (1995). Discovering design ability. Discovering design: Explorations in design studies, de Bono, E. (1988). Conflits : Vers la médiation constructive (InterEditions ed.). Paris. de Bono, E. (2004). La boîte à outil de la créativité (Éditions d'organisation ed.). Paris. Findeli, A. (2001). Rethinking design education for the 21st century: Theoretical, methodological, and ethical discussion. Design Issues, 17(1), Hargrove, R., & Rice, A. (2007). Creating Creativity in the Design Studio. Communication presented at CELA Annual Conference at Penn State University, North Carolina State University. Lebrun, M. (2002). Courants pédagogiques et technologies de l éducation. Louvainla-Neuve: Institut de pédagogie universitaire et des multimédias. Paquin, D. (2006). Baccalauréat avec majeure de création en 3D : Programme en cours de développement offert au campus Longueuil du collège. Oxman, R. (2004). Think-maps: teaching design thinking in design education. Design Studies, 25(1), Schell, J. (2008). The Art of Game Design: A book of lenses. Burlington, MA: Morgan Kaufmann. Tremblay, M. (2006). L innovation au service de la créativité, le défi du monde du jeu vidéo. Communication présentée au Cercle Canadien de Montréal, Ubisoft Canada. Van der Maren, J.-M. (2003). La recherche appliquée en pédagogie : Des modèles pour l'enseignement (De Boeck Université ed.). Bruxelle: Les Presse de l'université Laval Waks, L. J. (2001). Donald Schon's philosophy of design and design education. International Journal of Technology and Design Education, 11(1), Images Powerpoint logo: Microsoft Videogames: Wikipedia / David Vignoni Batari BASIC games: J.-B. Hamel, É. Prégent, L. Lorriaux, M. Baillargeon