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Stsenaariumide- põhine disain IFI6094.DT Kasutajakeskse disaini meetodid

Stsenaariumidepõhine disain

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Page 1: Stsenaariumidepõhine disain

Stsenaariumide-põhine disain

IFI6094.DT Kasutajakeskse disaini meetodid

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Carroll, J. M. (2000). Making Use: Scenario-Based Design of Human-Computer Interactions. Cambridge, MA: The MIT Press.

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Rosson, M. B., & Carroll, J. M. (2002). Scenario-Based Design. J. A. Jacko & A. Sears, The Human-Computer Interaction Handbook: Fundamentals, Evolving Technologies and Emerging Applications (lk 1032–1050). Mahwah, NJ: Lawrence Erlbaum Associates.

Rosson & Carroll: SBD 1

Scenario-Based Design

Mary Beth Rosson and John M. Carroll

Department of Computer Science and Center for Human-Computer Interaction

Virginia Tech, Blacksburg VA

Chapter 53 in J. Jacko & A. Sears (Eds.), The Human-Computer Interaction Handbook: Fundamentals,

Evolving Technologies and Emerging Applications. Lawrence Erlbaum Associates, 2002, pp. 1032-1050.

1. The Basic Idea

Scenario-based design is a family of techniques in which the use of a future systemis concretely described at an early point in the development process. Narrative descriptionsof envisioned usage episodes are then employed in a variety of ways to guide thedevelopment of the system that will enable these use experiences.

Like other user-centered approaches, scenario-based design changes the focus ofdesign work from defining system operations (i.e., functional specification) to describinghow people will use a system to accomplish work tasks and other activities. However,unlike approaches that consider human behavior and experience through formal analysisand modeling of well-specified tasks, scenario-based design is a relatively lightweightmethod for envisioning future use possibilities.

A user interaction scenario is a sketch of use. It is intended to vividly capture theessence of an interaction design, much as a two-dimensional, paper-and-pencil sketchcaptures the essence of a physical design.

2. A Simple Example

Scenarios are stories. They consist of a setting, or situation state, one or more actors withpersonal motivations, knowledge, and capabilities, and various tools and objects that theactors encounter and manipulate. The scenario describes a sequence of actions and eventsthat lead to an outcome. These actions and events are related in a usage context thatincludes the goals, plans, and reactions of the people taking part in the episode.

Table 1 presents three brief scenarios in which a member of a club uses differentnetwork tools to interact with club members. In all of these scenarios, the person’s goal isto visit a club and interact with her friends at the club. The scenarios contrast three waysthat such a goal might be supported by computer network technologies. Each is a potential“solution” to Sharon’s needs, but the user experience varies from asynchronous text-basedreading and posting, to a real-time graphical simulation of a meeting place.

Designers can quickly construct scenarios like these in order to make envisionedpossibilities more concrete. The example contrasts three contemporary approaches toonline interactions, but not as an abstraction, not as a list of features or functions. Itcontrasts three episodes of human-computer interaction and personal experience.

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Ohud disainiprotsessi alguses

• Disainerid võivad valida liiga kiiresti esimese ettetulnud lahenduse

• Disainerid võivad lihtsustada probleemi ja taaskasutada tuttavaid lahendusi

• Disainerid ei analüüsi piisavalt erinevaid ideid või alternatiive

(Rosson & Carroll, 2002)

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Mis on stsenaariumid?

Lühikesed lood inimestest ja nende tegevustest, mis

… kirjeldavad tüüpilisi kasutussituatsioone

… keskenduvad eesmärkidele, tegevustele ja objektidele

… jätavad välja kasutajaliidese detailid

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Stsenaariumide eelised

• Stsenaariumid näitavad disainiprotsessi edasiliikumist, kuid ei tekita tugevat seotust stsenaariumides kirjeldatud ideedega

• Stsenaariumid pööravad tähelepanu disainiideede kasutuskõlblikkusele

• Stsenaariumide lõpetamata olemus tõstatab küsimusi

(Rosson & Carroll, 2002)

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Stsenaariumi elemendid

• Tegevuspaik (ingl setting) — kasutusepisoodi algseisukorra ja seotud objektide kirjeldus

• Tegelased (ingl actors)

• Eesmärgid (ingl goals)

• Tegevused (ingl actions) — tegevused, mida tegelased teevad

• Sündmused (ingl events) — sündmused, mis tegelastega juhtuvad

• Objektid (ingl objects)

(Carroll, 2000)

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EesmärgidHarry is interested in bridge failures; as a child, he saw a small bridge collapse when its footings were undermined after a heavy rainfall.

He opens the case study of the Tacoma Narrows Bridge and requests to see the film of its collapse. He is stunned to see the bridge first sway, then ripple, and ultimately lurch apart.

He quickly replays the film, and then opens the associated course module on harmonic motion.

He browses the material (without doing the exercises), saves the film clip in his workbook with a speech annotation, and then enters a natural language query to find pointers to other physical manifestations of harmonic motion.

He moves on to a case study involving flutes and piccolos.

(Carroll, 2000)

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TegevusedHarry is interested in bridge failures; as a child, he saw a small bridge collapse when its footings were undermined after a heavy rainfall.

He opens the case study of the Tacoma Narrows Bridge and requests to see the film of its collapse. He is stunned to see the bridge first sway, then ripple, and ultimately lurch apart.

He quickly replays the film, and then opens the associated course module on harmonic motion.

He browses the material (without doing the exercises), saves the film clip in his workbook with a speech annotation, and then enters a natural language query to find pointers to other physical manifestations of harmonic motion.

He moves on to a case study involving flutes and piccolos.

(Carroll, 2000)

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ObjektidHarry is interested in bridge failures; as a child, he saw a small bridge collapse when its footings were undermined after a heavy rainfall.

He opens the case study of the Tacoma Narrows Bridge and requests to see the film of its collapse. He is stunned to see the bridge first sway, then ripple, and ultimately lurch apart.

He quickly replays the film, and then opens the associated course module on harmonic motion.

He browses the material (without doing the exercises), saves the film clip in his workbook with a speech annotation, and then enters a natural language query to find pointers to other physical manifestations of harmonic motion.

He moves on to a case study involving flutes and piccolos.

(Carroll, 2000)

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Näited

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http://trac.htk.tlu.ee/koolielu2/wiki/Stsenaariumid

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http://trac.htk.tlu.ee/iva2/wiki/Stsenaariumid

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http://trac.htk.tlu.ee/digimina/wiki/Stsenaariumid

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http://itec.eun.org/web/guest/scenario-library

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Homework and schoolwork “flip”

NARRATIVE OVERVIEW: I’ve been teaching for nearly ten years and have decided to try the popular idea of “flipping” in my class. The basic idea behind flipping is that lectures become homework, while class time is used for collaborative student work, experiential exercises, debate and lab work. Videos and other e-learning materials are used extensively during “home time” to deliver learning content, while class-time becomes open to experimentation and collaboration. I’ve read about flipping and realize it’s not a fully-fledged pedagogical approach, but a philosophy meant to be used flexibly and fluidly alongside all the tools I have gathered during my career. I’ve read how “flipping” can positively impact student learning regardless of the subject or the type of classroom.

It is important to me that the additional classroom time gained through flipping is used as effectively as possible, and that the resources students use in their own time are of the highest possible quality and appropriate to their current levels of knowledge. A content library that is integrated with online videos checked for quality and accessibility seems the best way to ensure success. My colleagues and I have developed teaching resources, videos and online activities over the years, and I’ve also kept the best revision materials developed by students at the school. Now it’s time to put this rich repository of content to good use in a structured approach, filling any gaps with high-quality resources available for free over the internet.

I look within the curriculum to identify topics that lend themselves well to ‘flipping’, like those that don’t require significant initial student-teacher interaction and that have high-quality resources for the at-home instructional element. I also ensure that students understand the purpose and format of ‘flipping’. I support students who lack access to resources at home to find other times and locations to view the materials. I also take advantage of a new school scheme that provides students with notebooks, to help ensure access for students and encourage them to complete their home tasks.

After the first weeks of flipping, some initial challenges arise. I realize that class time requires a different, but just as rigorous, form of planning, and that collaborative activities and project work come with their own issues to be addressed separately. However, after some initial adjustments, the benefits become evident, as the classroom becomes a place for more effective learning activities and increased student-teacher and peer interactions. Many students begin to choose how they learn content and demonstrate understanding, all while being allowed to master it at their own pace.

POSSIBLE APPROACH TO TEACHING AND ASSESSMENT - instructional design - project-based learning - enquiry-based learning - formative assessment

PEOPLE & ROLES This approach requires teachers and students to collaborate and find the most suitable solutions to the issues that may emerge. This can generate a degree of uncertainty as established conventions and roles are subverted. It is important that teachers are aware of these issues and of the potential conflict that may arise as a result (for example, it is likely that some students and their families might oppose ‘flipping’). It is therefore also important for teachers to be explicit with students and families about the intention and purpose of ‘flipping’. ACTIVITIES Activities vary depending on the nature of the subjects, the goals of the teachers and the levels of cognitive development of students. Flipping is more like a general philosophy than a collection of activities. A rigorous approach to planning and a clear idea of the goals to be achieved are paramount and also need to be shared explicitly with students at the beginning.

ENVIRONMENT The classroom and the home – flipped

RESOURCES (INCL. TECHNOLOGIES) - High quality video resources are essential in the original

“flipping” model (e.g. Khan Academy). However flipping can involve a wide range of resources and revision materials. Some people believe that in-house are particularly effective as they already account for local differences.

- Possibly include individual laptops for students to ensure equal access to resources.

CORE PURPOSE: To allow a radical transformation of activities, relationships and expectations, by “flipping” two core elements of the educational experience: school-time and home-work time.

TREND/S Young people are always connected and make heavy use of digital media, this is posing challenges to teachers and education systems who are yet to identify consistent and effective responses

Increasing frustration of young people with typical classroom activities

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Stsenaariumide hindamine

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Osalusdisaini sessioonid

• 2...3 osalejat ja 1 disainer

• Struktureeritud disainisessioonid 3...4 stsenaariumiga

• Ettevalmistatud küsimused iga stsenaariumi kohta

• Kestab kuni 2 tundi

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Näidisküsimused

• Milliseid mõtteid see stsenaarium sinus äratas?

• Kas kujutaksid ennast ette selle kasutaja rollis?

• Mida sa selle stsenaariumi juures muudaksid?

• …

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Keda kutsuda disainisessioonile

• Persoonadele sarnanevad inimesed

• Kliendid, tootest huvitatud osapoolte esindajad

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http://trac.htk.tlu.ee/digimina/wiki/DisainisessiooniJuhend

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Disainiprotsessi kokkuvõtted

• Helisalvestusel või märkmetel põhinev kirjalik kokkuvõte

• Mõistekaart

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http://trac.htk.tlu.ee/digimina/wiki/Disainisessioon1

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Viited

• Carroll, J. M. (2000). Five reasons for scenario-based design. Interacting with Computers, 13(1), 43–60. doi:10.1016/S0953-5438(00)00023-0

• Rosson, M. B., & Carroll, J. M. (2002). Scenario-Based Design. J. A. Jacko & A. Sears (toim), The Human-Computer Interaction Handbook: Fundamentals, Evolving Technologies and Emerging Applications (lk 1032–1050). Mahwah, NJ: Lawrence Erlbaum Associates.

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Fotod

• Hans Põldoja

• Teemu Leinonen, http://lemill.org/trac/attachment/wiki/DesignSessionResults/finland-02.jpg

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See materjal on avaldatud Creative Commons Autorile viitamine–Jagamine samadel tingimustel 3.0 Eesti litsentsi alusel. Litsentsi terviktekstiga tutvumiseks külastage aadressi http://creativecommons.org/licenses/by-sa/3.0/ee/

Hans Põldoja [email protected]

IFI6094.DT Kasutajakeskse disaini meetodid https://ifi6094.wordpress.com

Digitehnoloogiate instituut Tallinna Ülikool