Showing posts with label pattern language. Show all posts
Showing posts with label pattern language. Show all posts
Tuesday, June 26, 2012
Syllabus for Iba Lab B2 (Fall 2012) - Exploring Theories, Methods, and Practices for the Creative Society
We welcome GIGA students who don't speak Japanese!
Syllabus for Iba Lab B2 (Fall 2012)
Exploring Theories, Methods, and Practices for the Creative Society
Important Dates
July 3, 2012: Iba Lab information session (5th hour @ K11)July 21, 2012: Entry submission deadline
July 26-27, 2012: Interview sessions (dates subject to change)
July 28, 2012: Lab spring presentations
Course Goals and Overview
Our society today is becoming more complex and diverse day by day. Finding a way to design the future with our own hands has become the fundamental problem for us today. To be creative in such a society, we must create our own visions, and design tools and methods to make the vision become a reality.In our lab, we define a Creative Society as a society where various people design and create new perceptions, new products, new methods, and ultimately the future for ourselves, by ourselves. The lab aims to seize the sprouts of the creative society, imagine its growth, and nurture it through actual practice.
Members of the lab would either work on Personal Projects based on their interest in a certain field, or they can work in one of the Frontier Projects formed by members of the lab.
Examples of Personal Projects include analysis of open collaborations, research on social media, putting creative workshops to practice, analysis of the creative process, creation of tools to support creative processes, building new forms of communication media, or the creation of a pattern language in a new field. Of course, any other topic that you are interested in is welcome.
We are planning on starting the following Frontier Projects.
- Documentary Filming - Filming, production, and streaming of the world's first documentary film about pattern languages. Those with skills in film editing are welcome.
- Web Application Development - Launch a new kind of social networking service based on pattern languages. We welcome those with high programming and software development skills.
- Global Expansions - Introduce pattern languages and workshops based on them overseas. For all of you out there with high English skills, this is the place for you.
- Workshop Design - Develop and carry out new forms of workshops using pattern languages. For those interested in creating environments for effective study or creation.
- Education to Nurture Creativity - Study methods of education that would nurture the creativity of children, and put it into practice. Future teachers and anyone interested in education is welcome.
Upon conducting your project, you must first let go of the knowledge and methods fixed to existing sciences, and commit to the project by reconstructing a new method for a new era of study. To help the process, we will take time to read and discuss books about related topics.
The theme for our lab is Creativity. We are looking for prospective lab members who are willing to commit creatively to the future!
To find out more about our works, visit our lab blog:
The Creative Systems Lab
http://creativesystemslab.blogspot.jp/
Course Schedule
- Progress on each member's project will be shared at lab meetings. In addition, we will read and discuss books, and exercises to polish up skills will be given.
- Members are required to work on their projects outside of class time.
- Sessions are planned on 5th hour Tuesdays.
Course Language
English, JapaneseWe welcome GIGA students who don't speak Japanese!
Course Requirements
- Members are required to take classes held by Professor Iba besides the lab sessions, since skills and knowledge necessary for the lab will be taught there also. Professor Iba will be teaching "Pattern Language" and "Complex Systems Theory" in the Fall semester of 2012.
- We are looking for members who are willing to study together with us in a long perspective. Breakthrough in knowledge and skills can be expected through long-term commitment.
Available Seats
Approximately 20Misc. Information
- Since members of the lab each have a different field of expertise, knowledge necessary for each member's project must be acquired outside of class.
- Classes will most likely be extended without notice. We also go for dinner after lab sessions, so please keep your schedule open for the night on days with lab sessions.
- You are welcome to take both Iba Lab B1 and B2 in the same semester, or belong to another lab besides the Iba lab at the same time.
- Prospective members are asked to attend the Iba Lab Spring Presentation on 7/28/2012 (Sat).
- Join us on opportunities to go on overseas trips to attend workshops and academic conferences. This year we will be visiting Germany in July and the US in October.
- Iba Lab members are required to write their graduation thesis in English.
Entry Assignment
After reading through this syllabus thoroughly, please submit the entry assignment described below via email by Saturday, July 21.Email to: ilab-entry2012 [at] sfc.keio.ac.jp
Subject: Iba Lab B2 Entry
Please attach your entry assignment in a Word or PDF file.
Iba Lab B2 Entry Assignment
- Name, Faculty, Grade, Student ID, login ID
- Topic of study you wish to work on in the lab, or the Frontier Project you wish to participate in. Reason for your entry. Your Enthusiasm towards the project.
- Other Labs you are planning on belonging to next semester (If any)
- Labs you have been a part of (If any)
- Favorite classes you've taken so far - Multiple answers are welcome
- Courses by Prof. Iba which you have taken before
- Any other introduction of yourself. (clubs, activities, interests, future visions, any other points to sell)
* Question 2 should be about 1 page in length.
** You are welcome to use any pictures or diagrams for questions 2 and 7.
The selection interview will be held based on the information given in the entry assignment.
References
- Takashi Iba, "An Autopoietic Systems Theory for Creativity", Procedia - Social and Behavioral Sciences, Vol.2, Issue 4, 2010, pp.6610-6625
- Daniel H. Pink, A Whole New Mind: Why Right-Brainers Will Rule the Future, Riverhead Trade, 2006
- Don Tapscott, Anthony D. Williams, Wikinomics: How Mass Collaboration Changes Everything, Portfolio Trade, Expanded ed., 2010
- Peter Gloor, Coolfarming: Turn Your Great Idea into the Next Big Thing, AMACOM, 2010
- Keith Sawyer, Group Genius: The Creative Power of Collaboration, Basic Books, 2008
- Thomas Kelley, Jonathan Littman, The Art of Innovation: Success Through Innovation the IDEO Way, Profile Business, 2002
- Morris Berman, The Reenchantment of the World, Cornell University Press, 1984
- Gregory Bateson, Steps to an Ecology of Mind, The University of Chicago Press, 2000
- N. Luhmann, Social Systems, Stanford University Press, 1996
- Thomas S. Kuhn, The Structure of Scientific Revolution, The University of Chicago Press, 1962
- Freeman Dyson, Imagined Worlds, Harvard University Press, 1997
- Peter M. Senge, et. al., Presence: Human Purpose and the Field of the Future, Crown Business, Reprint ed., 2008
- C. Otto Scharmer, Theory U: Leading from the Future as It Emerges: The Social Technology of Presencing, Berrett-Koehler Pub, 2009
- Stephen Grabow, Christopher Alexander: The Search for a New Paradigm in Architecture, Routledge Kegan & Paul, 1983
- M. Lynn Manns, L. Rising, Fearless Change: Patterns for Introducing New Ideas, Addison-Wesley, 2004
- Learning Patterns Project, Learning Patterns: A Pattern Language for Creative Learning, 2011
- Christopher Alexander, The Nature of Order, Book 1-4, Center for Environmental Structure, 2001-
- Jenny Quillien, Delight's Muse on Christopher Alexander's The Nature of Order: A Summary and Personal Interpretation, Lulu.Com, 2008
- George Lakoff, Mark Johnson, Metaphors We Live By, The University of Chicago Press, 1980
- "Deduction, Induction, and Hypothesis" (Charles Sanders Peirce, The Essential Peirce: Selected Philosophical Writings VOLUME 1 (1867-1893), Indiana University Press, 1992) p.186-199
- Hayao Miyazaki, Starting Point 1979-1996, VIZ media, 2009
- Haruki Murakami, What I Talk about When I Talk about Running: A Memoir, Vintage Books, 2009
- B. Minto, The Pyramid Principle: Logic in Writing and Thinking, 3rd Revised ed, Financial Times Prentice Hall, 2008
Tuesday, June 12, 2012
Pattern Language: Media for Overcoming Double Contingency
Last
class, the students in Social Systems Theory class learned scenario planning, which is media for communicating in communities
or organizations based on future plans.
On
the other hand, Prof. Iba introduced pattern
language as media for verbalizing the tacit knowledge and sharing it among
people in an organization in order to take over double contingent situations.
He
explained what pattern language is, and how we write pattern language with
recent examples in our laboratory.
The
example was English pattern writing pattern which he discovered recently on the
generative beauty project. We firstly wrote the pattern in Japanese, yet we
needed to write the patterns in English in order to submit the paper for the
international conference.
On
that process, we tend to have difficulties with writing patterns in English,
the process does not go smoothly. Then, Prof. Iba realized that we need to
learn vocabularies related to topics of the patterns, in this case beauty, so
he bought variety of books about cosmetic, fashion and beauty written in English.
His intention of it was to write patterns while learning vocabularies and
phrases at the same time.
Even
though he shared this knowledge with the current members on the project, he
will need to explain that consecutively when he encounters the same situations
on the different occasions or people. Therefore, it is effective to organize
and write this knowledge in order to make easier to tell it to other people.
Then,
he decided to write the pattern on that. Basically, pattern language consists
of three main parts: context, problem, and solution.
Pattern Name: Writing with Learning
Context: You write in English, which is not your
mother tongue.
Problem: Because you have no idea how you should
write ideas in proper and comprehensive English, you cannot write patterns
smoothly.
Solution:
Write patterns with learning and referencing vocabularies and phrased related
to the topic of the pattern that you are writing.
The
reason why we give names to each pattern is to make us remember the contents of
the pattern easily, and help our communication on the topic as a vocabulary.
In
other words, Christopher Alexander, an architect who established the concept of
pattern language, explains in The
Production of Houses that pattern language is a language for writing design
knowledge including problem finding and problem solving.
After
the lecture, students have Q&A session about pattern language for deeper
understanding on that. Although they acquired better understanding on it, they
have never talked with patterns.
So,
we are having the workshop on patterns in Fearless
Change, and having dialogues based on their experiences with vocabularies
in the book.
◆ C. Alexander, The Production of Houses, Oxford
University Press, 1985
◆ M. Manns & L. Rising, Fearless Change, Addison-Wesley, 2005
Labels:
Creativity,
pattern language,
social systems theory
Saturday, September 17, 2011
Experience Mining and Dialogues Workshop @ COINs2011
Last week, my students and I attended to the Third International Conference on Collaborative Innovation Networks (COINs2011) held in Basel, Switzerland.
We held a two-hour workshop entitled "Experience Mining and Dialogues with a Pattern Language for Creative Learning." In that workshop, participants talk about their experience of learning each other with using the Learning Patterns. The Learning Patterns is a pattern language for creative learning, namely the collection of practical knowledge of problem-finding and problem-solving in learning.
The goals of this workshop were as follows: first, understanding what a pattern language is like, especially the Learning Patterns, a pattern language for creative learning. Second, reflecting on, talking about, and (re-) designing your own learning. Third, becoming future facilitators of this type of workshop in their own community.
We had more than twenty participants from diverse fields and different countries. While it was our first time to hold a workshop in such an international setting, we enjoyed the facilitation thanks to the eager participants. Not only participants, but also the place of workshop was so nice, because the place of the workshop was the terrace of the Old University offering a wonderful view of the Rhine.
I'm really happy since participants said they enjoyed the workshop and it was eye-opening for them. Furthermore, we learned several hints from their feedback. I greatly appreciate their joining and I would like to thank my team members.
The Place of Workshop on the Rhine
Introduction Session
Demonstration of Dialogue
Dialogue Session
Reflection Session
Workshop Organizing Team
The video of our presentation is available at the Livestream coninsconference page. Also, the following is the presentation slides posted into the SlideShare.
Labels:
COINs,
Learning Patterns,
pattern language,
photo,
presentation,
workshop
Friday, July 22, 2011
Pattern Language 3.0
Recently, I'm thinking about the methodological evolution of pattern languages, which is a method to describe design knowledge in a certain domain from the viewpoint of problem finding and problem solving (Alexander, 1979).
I call the emerging stage Pattern Language 3.0 (PL3.0), distinguishing from the previous stages, which we call here Pattern Language 1.0 (PL1.0) and Pattern Language 2.0 (PL2.0). In what follows, I will presents the evolution of pattern languages and clarifying the difference among these stages.
I call the emerging stage Pattern Language 3.0 (PL3.0), distinguishing from the previous stages, which we call here Pattern Language 1.0 (PL1.0) and Pattern Language 2.0 (PL2.0). In what follows, I will presents the evolution of pattern languages and clarifying the difference among these stages.
In what follows, I will explain the evolution of pattern languages from the following three viewpoints: the object of design which pattern languages help, why to make pattern languages, and how to make pattern languages.
The first viewpoint is the object of design which pattern languages help. The object of design with the PL1.0 is physical form like architecture; the object of design with the PL2.0 is non-physical form such as software, interface, and organization; and the object of design with the PL3.0 is form of human action such as learning, collaboration, facilitation, and change agents. The PL3.0 is quite different from others, since the object of design is same to the subject of design only in the PL3.0; there is a self-referential circulation for designing, and accordingly the meta-cognition for designing becomes more important than before.
The second viewpoint is why to make pattern languages. In the PL1.0, a pattern language was used as media for bridging the gap between designers and users: in the case of Alexander’s case, architects and residents; He considered his pattern language helps residents to participate their community development. In the PL2.0, pattern languages were used as media for bridging the gap between expert and non-expert designers: in the case of software design, expert software engineers and non-expert software engineers; It has been common use of pattern languages for software development that non-expert engineers learn the knack of good practice by reading the book. In the PL3.0, a pattern language was used as a media for connecting people who have different experiences: in the case of the Learning Patterns, the workshop are held, where participants talk about their experiences in the light of patterns each other.
The third viewpoint is why to make pattern languages. In the PL1.0, mining and writing of design knowledge are done by expert designers; for example, Alexander made the pattern language in architecture with his fellow architects, and then published as a book. In the PL2.0, collaborative improvement of patterns is introduced: shepherding system and writer’s workshop; while the improvement process is opened, the process of mining and writing is still closed in the expert designers. In the PL3.0, pattern languages are made through collaborative mining, writing, and improvement; finally, all process is opened. Thus, the history of development process of patterns is the history of involving otherness.
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