c/s/e/l: hueristics for scenario design

7/23/2019 C/S/E/L: Hueristics for Scenario Design

http://slidepdf.com/reader/full/csel-hueristics-for-scenario-design 1/19

SCENARIO DESIGNHeuristics for Scenario Design

1*

12

45




“The problem in design today is not can we build it, but rather what would be useful to build given the wide array of new possibilities technology provides?” 1

1 Properties of Envisioned Worlds

A process Designers must perform some level of envisioning to imagine a successful design. It is an exploration into the domain in question to understandthe implications of a given system design. Envisioning involves integrating some new technology, system, or service into an environment. Theenvisioning process requires telling stories through an understanding of the burgeoning technology and the domain.

Physical and Functional plausibility These stories must be both physically and functionally plausible. Physically they must be bound to the physical properties of the domain, makingthem believable to real practitioners as a valid representation of their world. Functionally, these stories must demonstrate knowledge of theintricacies and subtleties of the domain which justify explorations of future situations. Practitioners must be able to understand and give credibilityto stories which purport to dene their future.

Scenarios

Effective ways of telling a story Envisioning how storylines play out works well in the context of a scenario. Scenarios contain an accurate model of the world showing how

behaviors continue to adapt to constraints and goals in the eld of practice. These adaptations point to generic problems being manifested locallyin the domain, and are crucial to understanding and envisioning future behaviors.

The gap between technologists and practitioners To gain a glimpse about what might be a useful application of technology in some domain, you must have a thorough understanding of thecognitive challenges facing practitioners, and how those challenges would be assuaged (or exacerbated) by the introduction of new systems ortechnologies. This introduces the Practitioner / Technologist Gap. The practitioner is disabled because he is concerned with solving realproblems, irrespective of technological advances. The technologist is disabled because she is focused on developing new products, largelyirrespective of specic needs. This creates a situation where the technologist doesn't truly know how her products can help, and the practitionerdoesn't truly know what the technology can do for him. The methods introduced here are intended to bridge this gap and provide a balancebetween the technologist and the practitioner to better understand how each can benet the other.

How do you bridge the gap? Bridging this gap requires a thorough understanding of the domain and what it means to be a practitioner in that domain. One trap is becomingtoo engrossed in the domain that you take on the perspective of an insider, and are thus incapable of truly objective vi ewpoints and innovations.

This understanding must also be tempered with an understanding of the technology and how it is advancing. A thorough cognitive task analysis(CTA) can help gain an appreciation for the constraints faced by real practitioners and insight into how to successfully integrate new technology.Effective CTA should not simply list what happens in an environment, but provide direct insights which act as pointers for future design.

1*




“The problem in design today is not can we build it, but rather what would be useful to build given the wide array of new possibilities technology provides?” 1

1.1 Properties of Envisioned Worlds

• How does one envision or predict the relation of technology, cognition and collaborationin a domain that doesn ’ t yet exist or is in a process of becoming?

• How will envisioned technological change shape cognition and collaboration?

• How will practitioners adapt artifacts, given mismatches to the actual demands andpressures they experience, to meet their own goals?

• How can we predict the changing nature of expertise and new forms of failure as theworkplace changes?

• How will design processes create new tools that useful and robust since there are limitsto predictions of a co-evolutionary process?

All of these characteristics of an envisioned world must be considered to ground our observationsin context of the technology and practice around the people in the domain. These are notrequirements per se, but rather points upon which to speculate how new ideas and design mayimpact future work. This work puts the emphasis on incorporating application and system designat the forefront to keep pace with rapid technological and organizational change.

For further explanation of envisioned world based design refer to the appendix

1*




2 the de: cycle

As we start to approach these envisioned operations, we must employ a process of design- wesaw that the very nature of design could improve cognitive work, and this led to the developmentof the de:cycle as tool and as process. The de:cycle is cyclical and provides a generalframework that captures basic functions in research and development as design produces newfutures in an operational setting. The de:cycle process is non-linear and distributed over multiplegroups with parallel cross-connections. The design process that the c ycle depicts acts as asynchronization tool moving back in design, it traces intent and the basis for intent hypothesesabout what would be useful. The cyclical structure is based on six design functions:

• Distill- identify stories from eld research• Identify- abstract patterns and concepts from these stories• Simulate- pick up leverage points that cast design opportunities• Dene- tune the functional delity of these designs• Adjust- CSE turns envisioned artifacts into sharable product• Collect- release the product and collect new stories about the future

The abstracted patterns are the initial input to the cyclical process, while the output will then be ananimock that shares an envisioned story about the future of operations.

“Finding promising directions is like a voyage of discovery” 2

For further reference please see the appendix

1*




3 Telling a story- the animock as visual narrative

Use of narrative drives the story-telling engine to support and structure both analysis as well ascommunication. Complemented by work exploring new techniques rst, in the creative design process(de:cycle ) grounded in the envisioned world, and manifest in animated scenario development ( animock )to aid in the creation, sharing, and revision are stories about the future.

These go beyond simple ‘ use scenarios ’ and coupled with a strong grounding in the domain of practiceour practice is well situated in i ncorporating multiple converging perspectives from across domains,academia, and industry- to interact with designers and practitioners to:

• Presenting a designer ’ s direction

• Verify domain knowledge and assumptions

• Get constant feedback from practitioners and stake-holders

Written reports and static representation alone do not capture, or represent, commitment to the demandsof the domain- ideas and representations must be animated by stories that integrate design artifacts intoa compelling and realistic use scenario that is observable, and more importantly, relatable to thepractitioners. The narrative evolves from these patterns of cognitive work catered to the demands andinteractions of people in the domain. Our denition and guidelines for animock design. Animation requiresa storyboard and where we differentiate from traditional design processes, the animock must be dynamic,explicit, sharable, open to critique and revision, and able to co-evolve with the design resulting in what isa representation of a hypothesis open to revision.

“Compelling communication is needed so that the relevant ideas are not lost in the noise of data, technology, and change.” 3

For further reference please see the ap

1*




3.1 Visual Story Telling- supporting research through the art of visual story telling We have begun exploring storyboarding techniques to aid in visual narrative and approaching animock design. Some of the best work in design, tells a good story, and what we are talking about is vi s

As part of the Institute for Collaborative Innovation run by Ohio State University's Cognitive Systems Engineering Laboratory ( C/S/E/L ), Professor Phillips speaks on storyboarding as a techniquenarrative support and structure for analysis as well as for communication. Professor Flip Phillips of Skidmore College has participated in the annual Institute for Collaborative Innovation awith C/S/E/L team members. He combines research human perception and his experience as an animation scientist and technical director at Pixar Animation Studios.

“Compelling communication is needed so that the relevant ideas are not lost in the noise of data, technology, and change.” 3

➡ visual narrative➡ preliminary boards➡ sequence boards

(introduce temporalcomponent)➡ goodie board➡ story reel➡ pitch (adaptive)➡ tools for creation➡ data analysis

Click to view the presentation (29:37)

1*




4 Outline of HeuristicsWe have begun to expand upon the scenario development process: to use scenarios and storytellingdevices to elicit collaboration across diverse groups engaged in design and development. The storyframework we lay can be used not only in conducting research and seeing how cognitive systems principlesplay out in practice- but also to evolve story frameworks from which to play out multiple diverse detailedscenarios.

1. Envisioning Future Scenarios Designers must perform some level of envisioning to imagine a successful design. It is an exploration intothe domain in question to understand the implications of a given system design. Envisioning involvesintegrating some new technology, system, or service into an environment. The envisioning process requirestelling stories through an understanding of the burgeoning technology and the domain. The envisionedoperation must be looked at across four specic dimensions:

➡ plurality➡ underspecication➡ groundedness➡ calibration

2. de:cycle grounded in the domain of practices Experts must be integrated into the coordinated design experience. They complement the multipleperspectives necessary to provide insight across the design c ycle to observe, explore, and create. The rolesof practitioner, innovator, and technologists interact to produce future trajectories for investigation.

➡ Distill➡ Identify➡ Simulate➡ Dene➡ Adjust➡ Collect

3. Employing Narrative to Tell Stories The story framework denes a collaborative environment in which multiple perspecan be integrated. These stories must introduce an overview to the operations involvevents, critical episodes that underlie generic patterns in cognitive work to illustratewith the context establishing background. Within each of these, cross connecting recascading events can be employed based on the goal of the scenario design.

➡ introduction➡ sequence of events➡ critical episodes➡

falling action and conclusion4. Animock The animock represents the scenario. It is the culmination of the previous steps reefuture operations to various stakeholders for sharing, elaboration, and cri tiquing. Inactors, and events that make up the scenario grounded in a domain of practice. Fromexplore the interrelationships across dimensions, ie blocking, pacing, point of view,The animock servers as a storytelling framework and engine to guide and play-out relationships to facilitate envisioning across perspectives.

➡ dene stage, actors, events➡ explore relationships through blocking, pacing, poi

1*




5 Challenge: employing these design techniques as a scaffolding device to create design seeds and tell a story to aid intelligence ana

1. Dening the stage The stage mocks up the physical design environment. In the context of the show, not only are theevents in the envisioned world being experienced by the envisioned intelligence analysts in ourscenario, but the entire show is constructued as a participatory ‘ ride ’ in which the navigation of thephysical space mimicks the exploration of the concepts being explored. Over four differentiterations of oor layout were conceived and as this became the driving force, micro-scenariospowering each design seed were catered to t within the show context.

3. Incorporating Events Events in the scenario reshape tasks i n the physical environment and initiate responses by theactors that experience and produce states in their environment on the animock stage, as well asthe physical stage of the show. In this early illustration, of the concept, we looked at this quitedeliberately as a nite state machine. From this, we worked with each concept area to developmicro-scenarios for their design seeds that reinforced action and events into the overarchingscenario.

2. Casting the Actors

A duality of actors exist. First, researchers are playing the role of anthropologists relaying the designseeds and plot elements of the ongoing scenario. Actors in the scenario itself reect the researchersand are incorporated into the design seeds. The audience, then, is also an actor in each scenerelating and interacting with the researchers in the context of the scenario. This continuous changeand manipulation of point-of-view is used not just to relate the stage, to the actors, to the event- butalso to actively incorporate the audience literally, into the story.

This last section of the topic landscape is a quick overview following how these processes played out in designing a scenario forthe Institute

’

s Summer 2006 production. It highlights a few of the concepts employed to both scaffold the r esearcher’

s designseeds, and frame a vehicle for the sharing of concepts.

1*




The stage mocks up the physical design environment. In the context of the show, not only are the events in the envisioned world being experienced by the envisioned intelligence analysts in our scenario,

but the entire show is constructed as a participatory‘

ride’

in which the navigation of the physical space mimicks the exploration of the concepts being explored. Over four different iterations of oorwere conceived and as this became the driving force, micro-scenarios powering each design seed were catered to t within the show context.

show and scenario layout iterations (click to enlarge)

5.1 dening the stage

brain storm preliminary sequence final show

1*




5.1 Dening the stage: different iterations of the stage as show 1*



converging perspectives

LNG & RigorMicro Scenario:

1. ParticipatoryProcsses View

Cluster

Angola Plot:making analysis of analysis observable& directable

cognitive challenges assoc.with shared perspectives & common ground

tactical militaryrelief in place

Micro Scenario:

2. Handoffs

Angola Plot:addrssing the coming up to speedproblem

3. IntegrativeAnalysisthrough

CollaborativeMetaData

dyanmic and emergent organization, basedon human-machine coopeartive tagging

Angolan Blood DiamondsMicro Scenario:

Angola Plot:powering the process view toenable going beyond semantic tagging

4. M

Supportingavoid prem

bitch

Scenario: Listening to Angola & West Africa

Analysis of Analysis in Scenario

events&

actions

events&

actions

q1, qf

q2






5.1 Dening the stage: different iterations of the stage as show

N

2. NIST AngolaInfo Exchange

3. Angola DeskMeade

4. Concepts

1. Introduction

#1#2

#3 #4

#1 #2

5. Conclusion

Blowup of 2. and 3.

# 5

Preliminary Equipment List

x 9 Projectors

x 4 Reverse Projection Screens

Angolan Flora

x 3 Conference Tables

1*




A duality of actors exist. First, researchers are playing the role of anthropologists relaying the design seeds and plot elements of the ongoingscenario. Actors in the scenario itself reect the researchers and are incorporated into the design seeds. The audience, then, is also an actor in eachscene relating and interacting with the researchers in the context of the scenario. This continuous change and manipulation of point-of-view is usednot just to relate the stage, to the actors, to the event- but also to actively incorporate the audience literally, into the story.

actors from micro-smartin voshell

actors from participatory process view conceptdaniel zelik

5.2 casting the actors

1*




5.3 incorporating events Events in the scenario reshape tasks in the physical environment and initiate responses by the actors that experience and produce states in their environment on the animock stagstage of the show. In this early illustration, of the concept, we looked at this quite deliberately as a nite state machine. From this, we worked with each concept area to develop micro-scenarios for theirdesign seeds that reinforced action and events i nto the overarching scenario.

early concept outline for strategicintel in Angolawayne redenbarger

final SITREP for the start of the scenariomartin voshell, stoney trent, wayne redenbarger

1*




early conceintel in Angacross grouthe key conelements toenvisioned

outline bywayne rede

1*




Against the backdrop of a pre-existing world-wide energy crisis caused by instability in oil producing countries, the West African offshore oil reserves have

become an exploration target of choice for the oil exploration industry. Africanoil has become a priority for US National Security as well as Africandevelopment. The number of unclaimed oil elds is rapidly diminishing, and theUS is overseeing, protecting, and supporting the oil interests of many West

African countries.

The African Oil Policy Group has been lobbying to declare the oil rich regions justoff of Cabinda as “an area of vital interest” to America and therefore hasrequested a signicant US military presence in the region. The African coast hashuge oil reserves; however, per capita, Angola is still among the poorestcountries in the world. Angola and its immediate neighbors are currently suffering from a multi-year country-wide famine with government corruptionand local guerilla groups on the rise, e.g., half of all state revenue disappeared in2001.

During the recent civil war, rebel groups controlled most of the country’sdiamond mines and by ignoring UN sanctions, were able to fund their campaignsthrough illegal diamond sales. Many of these guerilla groups have come toembrace smuggling and are thought to be well nanced.

Off Cabinda, rigs ll up a supertanker with light crude oil every 4 days. Asproduction has increased, attacks on oil facilities by rebel groups have beomemore frequent. For now, this seems like terrorism for prot, not necessarily political activity; but with an increased US/UN concentration, this dynamic may change.

Most of the current offshore platforms and new planned sites are being developed in the Zaire river basin, a favored safe-haven for guerrillas during theCivil War that has recently ended. In response to the increase in frequency andsophistication of the attacks: seizure of rigs, jacks, and platforms, US DoD hasimplemented an operational intercept and communication center in Angola.

SitRep: Angola In response to industry and international demands for stability in the region, theUnited States/UN has established a military mission in Angola. The purpose of this mission is to maintain a safe and secure environment for Angolan andinternational business.

The US intelligence community has established a National Intelligence SupportTeam to provide intelligence support for four primary consumers with variousresponsibilities in the region.

Because this has not been declared a theater of war, the State Departmenthas maintained overall responsibility for all operations in West Africa.They are concerned with maintaining diplomatic ties with the Angolangovernment, and assessing the intent of major civilian, government, andguerrilla organizations in the region.

The Navy has the responsibility for maintaining sea lines of communication as well as protecting the 50+ oil platforms in the regionfrom piracy.

Special Operations Command has deployed teams to the region to establishtraining for Angolan counter-guerrilla units as well as collect informationon the intent of existing and newly-formed guerrilla elements. Finally, Congress is increasingly concerned with the implications of instability in the region and its impact on national policy in the ongoing energy crisis.

You and your group have been assigned to the NIST located in the US embassy inLuanda, Angola.

Good luck.

Theto ienvdesstrastorset the

cremastonway

5.3 employing these design techniques as a scaffolding device to create design seeds and tell a story to aid intelligence analysis

1*




story reel for introduction to CPoD 2006martin voshell

1*



SCENARIO DESIGNHeuristics for Scenar io Design

Appendix and Bibliography1. For further information on the Envisioned World problems please see:

Woods, D. and Dekker, S. (2000) Anticipating the effects of technological change: a new era of dynamics for human factors.Theoretical Issues in Ergnomics Science, pp. 272-282, Vol 1, No. 3, 1 July, Taylor and Francis LTD

2. For further information on the de:cycle, please see:Roesler, A, Woods, D, Feil, M. Inveting the future of cognitive work: navigating the ‘ northwest passage ’

available at: http://csel.eng.ohio-state.edu/blog/wordpress/?p=87

3. Original quote attributed to Dr. Flip Phillips, in context of his podcast and lecture available at:http://csel.eng.ohio-state.edu/podcasts/welcome.html

4. For more information about animocks and using design to tell stories about the future, please visit the section on our website:http://csel.eng.ohio-state.edu/blog/wordpress/?p=32

http://csel.eng.ohio-state.e du/

1*

http://csel.eng.ohio-state.edu/




http://csel.eng.ohio-state.edu/blog/wordpress/?p=32


http://csel.eng.ohio-state.edu/podcasts/welcome.html

http://csel.eng.ohio-state.edu/podcasts/welcome.html



c/s/e/l: hueristics for scenario design

Documents