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
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
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
Quick overview of an upcoming
research project to explore the
potential to implement this object
in additional design programs
Design
practice-oriented
curricula
Knowledge-oriented
curricula
Etc.
Design history
Project
management
Artifact history
Etc.
Studio work
User-centered
design
Sustainable design
Propose a pedagogical object
Requirement
Statement
Tool
Conceptualization
Van der Maren, 1999
Requirement Statement
University standards
The program aims to develop
creativity in students.
Industry standards
Prioritize innovation and
creation.
Responsibilities/required skills
include:
•
documentation
•
system design
•
R&D
•
knowledge of games and game
development process
•
teamwork.
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
« 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).
« 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).
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)
Design is
taught
through:
Projects
Experimentation
Mentorship
Construction
Contextualization
IN
SUMMARY
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.)
Tool Conceptualization –
Theoretical framework
and adopted conceptual tangent
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)
Construction of
conceptual models
"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)
Teamwork
Communication
"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
Knowledge
"Animation", "Anthoropology", "Architecture", "Business", "Cinematography", "Economics", "Engineering", "History", "Management", "Mathematics", "Music", "Psychology", "Sound design", "Visual arts" (Schell, 2008, pp. 2-4)ReflectIon
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)Constructive
approach
Solution-orientated
thinking
"adopt a solution focusing strategies" (Cross, 1995, p.111) "Brainstorming" (Schell, 2008, p. 3)
Creativity
"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).
Affective
skills
Tolerance for uncertainty
"Tolerate incertainty, working with incomplete information" (Cross, 1995, p.107) "Resolve ill-defined problems" (Cross, 1995, p. 111)
Ethical responsibility
"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)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.
Tool Conceptualization –
Object setup
and anticipated iterative modifications
Historical
concepts
Traditional lecturing approach
(PowerPoint)
Research on
genres
Identification of
characteristics of genres
Retracing the history of
genres
Oral presentations
Visual bB
and
Adventure
Game
Studio
Playable prototypes
Explanatory analysis of design
from a historical point of view.
Tool Conceptualization –
Object setup
and anticipated iterative modifications
Systemic
approach
Complexification
To be developed
Construction of
conceptual models
To be developed
Teamwork
Communication
Work in teams
Oral presentations
Listening
Technology constraints
Academic constraints (analysis of design)
Cognitive
skills
Knowledge
Research about game genres
Programming skills
Reflection
Analysis of design
Constructive
approach
Solution-orientated
thinking
Game development
Creativity
Game development
Affective
skills
Tolerance for
uncertainty
New design constraints
New development environment
Ethical responsibility
To be developed
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
Closer to original
game development
paradigm and
themes
Loss of
reinterpretation of
tools, themes and
videogame
standards
(easier time writing
the paper?)
•
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?
Student work –
Using Visual Batari BASIC
Lebrun, M. (2002). Courants pédagogiques et technologies de l’éducation.
Louvainla-Neuve: Institut de pédagogie
universitaire et des multimédias
.
Saison des amours •©2013 Michel Baillargeon Nano Ninja •©2012 Jeakim-Bastien Hamel [untitled space project] •©2012 Éliane Prégent La biscotte •©2012 Loïc Lorriaux
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)
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
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
, 105-120.
•
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), 5-17.
•
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), 63-91.
•
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), 37-51.
Images
•
Powerpoint logo: © Microsoft
•
Videogames: © Wikipedia / David Vignoni