Game design has been a field largely dominated by white, male voices, to the exclusion of others. The lack of diversity among game developers results in a lack of diversity in the games themselves. This article presents one way forward, merging indigenous thought from the Nahua of Mexico and the Chicano movement with game design principles. Further, it presents a series of exercises to challenge the way designers think about games.
{"title":"Gaming Xiuhpohualli: A (Chicano) Theory of Game Design","authors":"Joshua Wood","doi":"10.1162/desi_a_00705","DOIUrl":"10.1162/desi_a_00705","url":null,"abstract":"Game design has been a field largely dominated by white, male voices, to the exclusion of others. The lack of diversity among game developers results in a lack of diversity in the games themselves. This article presents one way forward, merging indigenous thought from the Nahua of Mexico and the Chicano movement with game design principles. Further, it presents a series of exercises to challenge the way designers think about games.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 1","pages":"42-54"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45356325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the value of science fiction narratives in games for citizen science. Focusing on the protein-folding game Foldit, it describes the process of modifying and redesigning the game to feature a framing narrative and other alterations to the main tutorial campaign. The campaign narrative, Foldit: First Contact, situates the practices of citizen science in an expanded context of meanings and ethical implications, promoting critical self-reflection on the relations of science and civic values. A study of player responses to Foldit: First Contact suggests the significance of science fiction and critical game design for attuning citizen scientists to the collective responsibilities of experimentation and innovation, drawing attention to the intersecting social, technical, and environmental domains in which gamers may contribute to scientific research.
本文探讨了科幻叙事在公民科学游戏中的价值。以蛋白质折叠游戏《Foldit》为例，它描述了修改和重新设计游戏的过程，以突出框架叙述和对主要教程活动的其他更改。活动的叙述，Foldit:第一次接触，将公民科学的实践置于意义和伦理影响的扩展背景下，促进对科学与公民价值观关系的批判性自我反思。一项关于玩家对《Foldit: First Contact》的反应的研究表明，科幻小说和批判性游戏设计对于协调公民科学家对实验和创新的集体责任的重要性，引起人们对玩家可能为科学研究做出贡献的交叉社会，技术和环境领域的关注。
{"title":"Join the Fold: Video Games, Science Fiction, and the Refolding of Citizen Science","authors":"Colin Milburn;Katherine Buse;Ranjodh Singh Dhaliwal;Melissa Wills;Raida Aldosari;Patrick Camarador;Josh Aaron Miller;Justin Siegel","doi":"10.1162/desi_a_00707","DOIUrl":"10.1162/desi_a_00707","url":null,"abstract":"This article explores the value of science fiction narratives in games for citizen science. Focusing on the protein-folding game Foldit, it describes the process of modifying and redesigning the game to feature a framing narrative and other alterations to the main tutorial campaign. The campaign narrative, Foldit: First Contact, situates the practices of citizen science in an expanded context of meanings and ethical implications, promoting critical self-reflection on the relations of science and civic values. A study of player responses to Foldit: First Contact suggests the significance of science fiction and critical game design for attuning citizen scientists to the collective responsibilities of experimentation and innovation, drawing attention to the intersecting social, technical, and environmental domains in which gamers may contribute to scientific research.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 1","pages":"70-87"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46949147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, the authors tease out meritocracy from level design by comparing “passing” game levels with “passing” as performances for survival by marginalized peoples. We use HIV to demonstrate passing as a response from the intersections of queerness, race, and disability to inform heuristics for level design that tease out meritocratic design practices. We finish by illustrating our heuristics in action through Roxy's Got Balls, an online drag queen bingo event.
{"title":"Undetectable Starting Points: Rethinking “Passing” in Level Design through Queerness, Disability, and Roxy's Got Balls","authors":"Michael Anthony DeAnda;Gracie Lu Straznickas","doi":"10.1162/desi_a_00704","DOIUrl":"10.1162/desi_a_00704","url":null,"abstract":"In this article, the authors tease out meritocracy from level design by comparing “passing” game levels with “passing” as performances for survival by marginalized peoples. We use HIV to demonstrate passing as a response from the intersections of queerness, race, and disability to inform heuristics for level design that tease out meritocratic design practices. We finish by illustrating our heuristics in action through Roxy's Got Balls, an online drag queen bingo event.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 1","pages":"27-41"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44258835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Game design research is caught between epistemologies and disciplines, leading to a lack of grounded methodologies. Without such methodological approaches, we cannot support evidence-based claims about game design. The Method for Design Materialization (MDM) is a methodological approach to capturing game design via software version control. By embracing a time-sliced representation of a game throughout its development and pairing it with explicit materializations of design thinking through reflective writing, we believe significant progress can be made in understanding and extrapolating from the design process.
游戏设计研究被夹在认识论和学科之间，导致缺乏基础方法。没有这种方法论方法，我们就无法支持基于证据的游戏设计主张。设计物质化方法(Method for Design Materialization，简称MDM)是一种通过软件版本控制捕获游戏设计的方法。通过在整个游戏开发过程中采用时间切片表示，并通过反思性写作将其与设计思维的明确物化相结合，我们相信可以在理解和推断设计过程方面取得重大进展。
{"title":"Generative Logics and Conceptual Clicks: A Case Study of the Method for Design Materialization","authors":"Rilla Khaled;Pippin Barr","doi":"10.1162/desi_a_00706","DOIUrl":"10.1162/desi_a_00706","url":null,"abstract":"Game design research is caught between epistemologies and disciplines, leading to a lack of grounded methodologies. Without such methodological approaches, we cannot support evidence-based claims about game design. The Method for Design Materialization (MDM) is a methodological approach to capturing game design via software version control. By embracing a time-sliced representation of a game throughout its development and pairing it with explicit materializations of design thinking through reflective writing, we believe significant progress can be made in understanding and extrapolating from the design process.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"39 1","pages":"55-69"},"PeriodicalIF":0.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48908978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prince Rogers Nelson (1958–2016) was an innovative American musician whose life and work defied categorization. His music combined the spiritual with the sexual while spanning funk, rhythm and blues, soul, rock and roll, and pop genres. Prince embraced nonbinary gender performance and, as a Black artist of enormous celebrity, exemplified what W. E. B. Du Bois named double-consciousness: a sensibility gained from looking at oneself through the eyes of others; a “two-ness” derived from being both American and Black. Prince used multivalent signs, symbols, and codes to craft an enigmatic personal mythology. In this essay, I use Roland Barthes's poststructuralist theory and Stuart Hall's writing on stereotypes to examine Prince's semiotic world. By studying recurring motifs in his lyrics, fashion, and visual communication design, I show that Prince's signifying practices constitute a sensual text that, through illegibility, catalyzed emancipatory cultural expressions.
{"title":"Dig If You Will the Picture…: Reading Prince's Semiotic World","authors":"Aggie Toppins","doi":"10.1162/desi_a_00698","DOIUrl":"10.1162/desi_a_00698","url":null,"abstract":"Prince Rogers Nelson (1958–2016) was an innovative American musician whose life and work defied categorization. His music combined the spiritual with the sexual while spanning funk, rhythm and blues, soul, rock and roll, and pop genres. Prince embraced nonbinary gender performance and, as a Black artist of enormous celebrity, exemplified what W. E. B. Du Bois named double-consciousness: a sensibility gained from looking at oneself through the eyes of others; a “two-ness” derived from being both American and Black. Prince used multivalent signs, symbols, and codes to craft an enigmatic personal mythology. In this essay, I use Roland Barthes's poststructuralist theory and Stuart Hall's writing on stereotypes to examine Prince's semiotic world. By studying recurring motifs in his lyrics, fashion, and visual communication design, I show that Prince's signifying practices constitute a sensual text that, through illegibility, catalyzed emancipatory cultural expressions.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"63-75"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42576473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We describe the COVID-19 Online Visualization Collection (COVIC), its goals, how it came to be, and why we propose such a collection as a new path for design research. The COVIC database contains a collective visualization response to the COVID-19 pandemic gathered from approximately 3,000 articles, each containing one or more visualizations (about 12,000 in total). We have sought to create a resource for design research—a boundary object—that will be useful to any of the disciplines brought together through their response to the pandemic event.
{"title":"COVIC: Collecting Visualizations of COVID-19 to Outline a Space of Possibilities","authors":"Paul Kahn;Hugh Dubberly;Dario Rodighiero","doi":"10.1162/desi_a_00697","DOIUrl":"10.1162/desi_a_00697","url":null,"abstract":"We describe the COVID-19 Online Visualization Collection (COVIC), its goals, how it came to be, and why we propose such a collection as a new path for design research. The COVIC database contains a collective visualization response to the COVID-19 pandemic gathered from approximately 3,000 articles, each containing one or more visualizations (about 12,000 in total). We have sought to create a resource for design research—a boundary object—that will be useful to any of the disciplines brought together through their response to the pandemic event.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"44-62"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48630133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I examine the foundations of design knowledge and how they have been disrupted as the design discipline moves progressively away from industrial production. I consider design knowledge as a collection of different cognitive processes for developing artifacts for the human-made world. Adopting David Kolb's (1984, p.38) definition of learning as “the process whereby knowledge is created through the transformation of experience,” I discuss the change in design knowledge by examining how the characteristics of designed items have changed. Building on theories by Neri Oxman and Richard Buchanan, I identify relevant areas of design practice in which creativity is breaking free from disciplinary silos to flow between physical, digital, metaphysical, and biological layers. I then propose an updated map of the orders of design as a thinking tool and compass. I read the evolutions of design as it enters the Fifth Order of concerns, characterized by the centrality of data both as input and as output to a design process. Today, design deals with relationships and perceptions; it dialogues with people and all species ranging from machines to micro-organisms, all of which actively participate in reaching objectives. Here, design creates conversations to achieve several goals, including engagement, discovery, and decision making. Finally, I propose a shift in the traditional principles of designing, moving away from the idea of perfect solutions and toward learning systems that are good enough for now.
{"title":"New Design Knowledge and the Fifth Order of Design","authors":"Marzia Mortati","doi":"10.1162/desi_a_00695","DOIUrl":"10.1162/desi_a_00695","url":null,"abstract":"In this article, I examine the foundations of design knowledge and how they have been disrupted as the design discipline moves progressively away from industrial production. I consider design knowledge as a collection of different cognitive processes for developing artifacts for the human-made world. Adopting David Kolb's (1984, p.38) definition of learning as “the process whereby knowledge is created through the transformation of experience,” I discuss the change in design knowledge by examining how the characteristics of designed items have changed. Building on theories by Neri Oxman and Richard Buchanan, I identify relevant areas of design practice in which creativity is breaking free from disciplinary silos to flow between physical, digital, metaphysical, and biological layers. I then propose an updated map of the orders of design as a thinking tool and compass. I read the evolutions of design as it enters the Fifth Order of concerns, characterized by the centrality of data both as input and as output to a design process. Today, design deals with relationships and perceptions; it dialogues with people and all species ranging from machines to micro-organisms, all of which actively participate in reaching objectives. Here, design creates conversations to achieve several goals, including engagement, discovery, and decision making. Finally, I propose a shift in the traditional principles of designing, moving away from the idea of perfect solutions and toward learning systems that are good enough for now.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"21-34"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720221/9931033/09931085.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47798800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article we demonstrate that and why Aristotle's four causes are essential for a scientific articulation of designerly knowledge. We show that properly understood, Aristotle's notion of a cause, including the final cause, is not in conflict with modern science. Rather, when it comes to understanding living beings as such, all of the four Aristotelian causes are still crucial. We argue that this implies that design research, too, must appeal to the four causes, because artifacts must be understood in terms of the role they play in the life of living beings.
{"title":"The Significance of Aristotle's Four Causes in Design Research","authors":"Boris Hennig;Matthias Rauterberg","doi":"10.1162/desi_a_00696","DOIUrl":"10.1162/desi_a_00696","url":null,"abstract":"In this article we demonstrate that and why Aristotle's four causes are essential for a scientific articulation of designerly knowledge. We show that properly understood, Aristotle's notion of a cause, including the final cause, is not in conflict with modern science. Rather, when it comes to understanding living beings as such, all of the four Aristotelian causes are still crucial. We argue that this implies that design research, too, must appeal to the four causes, because artifacts must be understood in terms of the role they play in the life of living beings.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"38 4","pages":"35-43"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49352822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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