Balancing Innovation and Operation 2020
DOI: 10.35199/norddesign2020.44
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Designing aesthetics for play(fulness)

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Cited by 3 publications
(4 citation statements)
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“…Through play, it is possible to separate from the real world, while still dealing with or creating an explanation of a (real) situation, which makes play a space that gives an opportunity for safe exploration of something that might else not have been conceived as safe, e.g., animals biting each other in play to learn about something that later in life might be a matter of life and dead (Karoff, 2013;Sutton-Smith, 1997) or, for the play probes, to open up to something that might be difficult to talk about for the participants, in a way that gives the participants control over how and what they choose to share, thus creating a safe space for expressions. Legaard (2020) who deals with aesthetics affording different types of play, such as the four types mentioned in the previous section, states that when involving in play forms within construction, if at one point the playful practitioner during construction-play has a certain imaginary space in mind, that they are building towards, the gap between the imaginary world and the real world starts diminishing. When that happens, there is a chance for a degree of what he calls »…investigative storytelling«: meaning that an exploration of what story the playful practitioner wants to tell, can emerge.…”
Section: From Probes To Play Probesmentioning
confidence: 99%
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“…Through play, it is possible to separate from the real world, while still dealing with or creating an explanation of a (real) situation, which makes play a space that gives an opportunity for safe exploration of something that might else not have been conceived as safe, e.g., animals biting each other in play to learn about something that later in life might be a matter of life and dead (Karoff, 2013;Sutton-Smith, 1997) or, for the play probes, to open up to something that might be difficult to talk about for the participants, in a way that gives the participants control over how and what they choose to share, thus creating a safe space for expressions. Legaard (2020) who deals with aesthetics affording different types of play, such as the four types mentioned in the previous section, states that when involving in play forms within construction, if at one point the playful practitioner during construction-play has a certain imaginary space in mind, that they are building towards, the gap between the imaginary world and the real world starts diminishing. When that happens, there is a chance for a degree of what he calls »…investigative storytelling«: meaning that an exploration of what story the playful practitioner wants to tell, can emerge.…”
Section: From Probes To Play Probesmentioning
confidence: 99%
“…When they have made their creation, they can fill out a small note stating different features about their creations, such as a name or title, if there are special features or powers etc. Thus, moving from construction-play over to fantasy-play (Legaard, 2020).…”
Section: From Probes To Play Probesmentioning
confidence: 99%
“…A specific gamification technique that was found in this study to be potentially useful for both longterm and short-term engagement is creating a narrative by using app characters in a mental health context. Playfulness could also be utilized in generating this kind of engaging narration, as presented by Legaard (2020) who described different forms of aesthetics that could be used in this regard such as storytelling and creating specific personal characteristics for the app design, which could help the user engage with the intervention on a cognitive and emotional level.…”
Section: Iced21mentioning
confidence: 99%
“…This finding agrees with foundational research on conventional games that highlights the value of familiarity in making games appealing (DeKoven, 2013). Furthermore, the videogaming literature highlights six forms of playfulness that roboticists could also seek to evoke: embodied investigation, constructive investigation, investigative storytelling, constructive storytelling, embodied storytelling, and embodied construction (Legaard, 2020). Another motivating factor in video games is the aspect of challenge, which can be broken into four components: physical, analytical, socioemotional, and insight (Vahlo and Karhulahti, 2020).…”
Section: Introductionmentioning
confidence: 99%