CHI 2011 Gamification Workshop

194
CHI 2011Workshop Gamification S. Deterding, D. Dixon, L. Nacke, R. Khaled, K. O‘Hara Vancouver, May 7, 2011 c b n

description

The collected presentations from the Gamification Workshop held on May 7, 2011 at CHI 2011 in Navcouver, BC. More at http://gamification-research.org/chi2011.

Transcript of CHI 2011 Gamification Workshop

Page 1: CHI 2011 Gamification Workshop

CHI 2011Workshop���

Gamification���S. Deterding, D. Dixon, L. Nacke, R. Khaled, K. O‘Hara ���Vancouver, May 7, 2011���c b n

Page 2: CHI 2011 Gamification Workshop

#gamichi

Hashtag

Page 3: CHI 2011 Gamification Workshop

Gamification

Page 4: CHI 2011 Gamification Workshop

Outset

•  Rich but disconnected body of existing research

• Mass-market proliferation of gameified applications

Goals

•  Stocktaking and integration of existing research

•  Identification of new research opportunities (offered by mass-market applications)

Workshop Outset & Goals

Page 5: CHI 2011 Gamification Workshop

•  What is the current state of research, and how to integrate it?

•  Which existing approaches are well-suited to study gamification?

•  Do gamified applications feature specific or novel, unresearched characteristics?

•  What happens when game design elements are transferred into non-game contexts?

•  Which promising (new) research topics and data sources do gamified applications provide?

Workshop Questions

Page 6: CHI 2011 Gamification Workshop

What is this »gamification« thing?

Game

Playful interaction

»The use of game design elements in non-game contexts«

•  Games, not play

•  Elements, not whole games

•  Design, not technology or practices

•  Digital & non-digital

•  Non-game contexts, not specific

Play

Whole Elements

Serious Games

GWAP Serious Gaming

Game-based tech

Gamification

Page 7: CHI 2011 Gamification Workshop

• Lennart Nacke

• Rilla Khaled

• Dan Dixon

• Sebastian Deterding

• Kenton O’Hara

•  (Miguel Sicart)

Who are these people?

Page 8: CHI 2011 Gamification Workshop

• What are formal core game elements? – Rewards

– Challenge – Progress – Theme

• With what elements can we gamify HCI applications (Experimental tasks)?

Game Design Building Blocks Lennart Nacke

Page 9: CHI 2011 Gamification Workshop

•  current gamification design strategies do not make sense in many cultural contexts

•  e.g. Janteloven in Scandinavia is about not standing out •  how to make sense of gamification in cultural

contexts? •  cultural values matter : gamification blurs boundaries

with the real world •  culture and games share common conceptual ground •  people‘s background culture does influence people‘s

interpretation of games – how can we harness this in design?

•  gamification is somewhat subordinated to games: need to satisfy two literacies

Thoughts on Gamification and Culture Rilla Khaled

Page 10: CHI 2011 Gamification Workshop

Types of player types •  Bartle (1996)���

4 types of players in MUDs���

•  Yee (2005)���3 main and 10 subcomponents���in MMORPGS

•  Klug and Schell (2006)���9 player types���

•  Jackson et al (2009)���8 orientations���in Adventure Rock���

•  Canossa & Drachen (2009)���3 types of behaviour ���in Tomb Raider: Underworld���

•  Kallio et al (2010)���9 reasons to play

•  Commonalities���Achievement, Competition, Socialization

Dan Dixon

Page 11: CHI 2011 Gamification Workshop

Situated Motivational Affordances���

Game Motivation

Intrinsic •  Competence •  Autonomy •  Relatedness

Extrinsic

Social Context (frames)

Artifact (patterns, affordances)

•  RQ: How are situational and artifactual autonomy support in games and gamified applications related to intrinsic motivation and the experience of ‘play’?

•  Method: Interviews, video ethnography, experiment

•  Theory: Frame Analysis (Goffman), SDT (Ryan, Deci), motivational affordances (Zhang)

Sebastian Deterding

Page 12: CHI 2011 Gamification Workshop

9.00–9.20 Introduction

9.20–10.15 Papers I

10.15–10.30 Coffee break

10.35–11.35 Papers II

11.35–11.45 Industry perspective

11.45–12.15 Identification of emerging topics

12.15–13.15 Lunch

Agenda: Morning

Page 13: CHI 2011 Gamification Workshop

13.15–15.30 World Café (with 15 min break)

15.30–15.45 Coffee break

15.45–17.30 Presentation and general discussion

17.30–17.45 Wrapup

17.45–18.15 Demos

19.30 Dinner at Cardero‘s

Agenda: Afternoon

Page 14: CHI 2011 Gamification Workshop

1.  Each player belongs to one of four teams: red, yellow, blue, green.

2.  Each player is dealt one creativity card.

3.  Each time a player makes a remark that uses the card, she scores a point for her team. She does so by announcing it to the table host.

4.  Between rounds, players may swap cards within their team.

5.  The team with the most points at the end wins.

6.  Please return the cards at the end of the workshop.

Game rules

Page 15: CHI 2011 Gamification Workshop

1.  There are four rounds with 45 minutes each. Each table has a topic and host.

2.  Choose the table that most interests you, keeping participants per table roughly equal.

3.  Note ideas on the table cloth. At the end of each round, the table host will summarize results on the cloth.

4.  At the end of each round,

•  switch to a table you haven‘t been to yet,

•  create a new one with a new topic if you find at least four participants (you‘ll be the first host),

•  close a table if everyone agrees

5.  The previous table host now presents the results of the past round and then hands her role over to a new host of the new round.

6.  For the final round, again choose the table that most interests you.

World Café

Page 16: CHI 2011 Gamification Workshop

Please summarize the results as follows:

•  What is agreed on?

•  What is contentious? How might it be resolved?

•  What is open or unknown? How might it be answered?

World Café summary

Page 17: CHI 2011 Gamification Workshop

•  What have we already done?

•  What should happen next? •  How would we do that?

•  What will you do next?

Workshop summary

Page 18: CHI 2011 Gamification Workshop

Thank you Sebastian Deterding s.deterding@hans-bredow- institut.de  

Dan Dixon [email protected]  

Lennart E. Nacke [email protected]  

Rilla Khaled [email protected]  

Kenron O‘Hara [email protected]  

Page 19: CHI 2011 Gamification Workshop

1.  Antin & Churchill: Badges in Social Media: A Social Psychological Perspective

2.  Brewer et al.: Lights Off. Game On. The Kukui Cup: A Dorm Energy Competition

3.  Cheng et al.: Finding Moments of Play at Work

4.  Cheung: Consciousness in Gameplay

5.  Choe: Roleplaying gamification to encourage social interactions at parties

6.  Ahmet & Cramer: Gamification and Location-Sharing: Some Emerging Conflicts

7.  Diakopoulos: Design Challenges in Playable Data

8.  Gerling: Exploring the Potential of Gamification among Frail Elderly

9.  Hoonhout & Meerbek: Brainstorm Triggers: game characteristics as input in ideation

10.  Huotari & Hamari: “Gamification” from the perspective of service marketing

Presentations 11.  Inbar et al: Driving the Scoreboard: Motivating

Eco-Driving Through In-Car Gaming

12.  Kukkaniemi et al.: Play Society Research Project

13.  Laschke & Hassenzahl: Mayor or Patron? The Difference Between a Badge and a Meaningful Story

14.  Lee: What could media art learn from recent experimental games?

15.  Müller : Gamification and Exertion: Using Gaming to Facilitate the Investment of Physical Effort

16.  Nikkila et al: Playing in Taskville: Designing a social game for the workplace

17.  Narasimhan: The Gamification of Television: Is there life beyond badges?

18.  Reeves, Cummings & Anderson: Leveraging the Engagement of Games to Change Energy Behavior

19.  Paharia: Bunchball.com

Page 20: CHI 2011 Gamification Workshop

5/5/20111Yahoo! Presentation, Confidential

Badges in Social Media:A Social Psychological Perspective

Judd Antin andElizabeth F. Churchill

Internet ExperiencesGroup

Yahoo! Research

{jantin, echu}@yahoo-inc.com@juddantin, @xeeliz

Page 21: CHI 2011 Gamification Workshop

This is Not a New Idea

Page 22: CHI 2011 Gamification Workshop

The Social Purposes of Badges

Page 23: CHI 2011 Gamification Workshop

Goal Setting

Page 24: CHI 2011 Gamification Workshop

Instruction & ShepherdingInstruction & Shepherding

Page 25: CHI 2011 Gamification Workshop

ReputationReputation

Page 26: CHI 2011 Gamification Workshop

Status & Affirmation

Page 27: CHI 2011 Gamification Workshop

Group IdentificationGroup Identification

Page 28: CHI 2011 Gamification Workshop

Thanks

Judd Antin

Elizabeth F. ChurchillInternet Experiences Group

Yahoo! Research

{jantin, echu}@yahoo-inc.com

@juddantin, @xeeliz

You earned the “You Earned a Badge!”

badge!

Page 29: CHI 2011 Gamification Workshop

(1)

Lights Off. Game On. The Kukui Cup:

A Dorm Energy Competition

Robert Brewer, George Lee, Yongwen Xu, Caterina Desiato, Michelle Katchuck, and Philip Johnson Collaborative Software Development Laboratory

Dept of Information and Computer Sciences University of Hawaii at Manoa

http://csdl.ics.hawaii.edu/

Page 30: CHI 2011 Gamification Workshop

(2)

Motivation  Many energy challenges •  Environmental impacts •  Peak oil •  Energy security

 Our relationship with energy must change

 Energy conservation •  Behavior can be major driver

 Energy literacy

Page 31: CHI 2011 Gamification Workshop

(3)

Question

 How can we obtain sustained, positive behavioral changes with respect to energy usage?

Page 32: CHI 2011 Gamification Workshop

(4)

The Kukui Cup  A “next generation” dorm energy competition •  Real-time energy data •  Behavior change tools •  Energy literacy “baked in”

 Built for reusability •  Open source systems: WattDepot & Makahiki

 Inaugural competition •  October 2011, 3 weeks long •  4 residence halls •  1000 first-year students

Page 33: CHI 2011 Gamification Workshop

(5)

Engagement  How do we get students to participate? •  Prizes •  Hype •  Gamification

 Two parallel competitions •  Energy conservation •  Kukui Nut points

 Side games •  Energy goal game •  Raffle game

Page 34: CHI 2011 Gamification Workshop

(6)

Open Issues  “Onboarding” •  Our primary focus so far •  Early in-lab evaluations positive

 Keeping things going •  How do we keep the “masters” interested? •  Developing 2nd level of interaction

 After the competition ends •  How to support top players? •  Assist for next year’s Kukui Cup

Page 35: CHI 2011 Gamification Workshop

Finding Moments of Play at Work

Li-Te Cheng

Sadat Shami

Casey Dugan

Michael Muller

John Patterson

Steven Rohall

Andrew Sempere

Werner Geyer

Center for Social Software IBM Research

Joan DiMicco

Page 36: CHI 2011 Gamification Workshop

Summary

• When are appropriate moments of play for gamification in the enterprise?

• Single player gamification impacts individual employee’s work-based or spare time

• Multiplayer gamification impacts team time, social norms, corporate culture

• Examined five past projects at IBM

Page 37: CHI 2011 Gamification Workshop

! "!

#$%&!'()!*+,'-./,0!'123432356!73892!%5!.:$;(5)!/+$(!%-!57+,$-5:6<!!='73.31'23$(!3(!295!5(25:+:365!1$/,)!%5!#/623.35)!'6!'!%5225:!/65:!5>+5:35(15!.$:!)'2'!1$,,5123$(!2$!6$,45!;$:?@:5,'25)!+:$%,576&!3<5<!*='756!.$:!'!A/:+$650!BCCD<!!E$&!!"#$%1'(!;5!8'73.-!;$:?!3(!295!.3:62!+,'15F!

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

!"#$%&'()*+,+$-(-..*%/*%01-$.*01$%2)1*3%4'+5*6%%7"+$7'()*H95!.3:62!5>'7+,5&!295!P$85':!='75!QR38/:5!CS!3(1$:+$:'25)!'!63(8,5!+,'-5:!8/5663(8!8'75!;329!'(!3(25:(',!5(25:+:365!6$13',!%$$?7':?3(8!6-6257!BTD<!!A,'-5:6!7'2195)!6$13',!%$$?7':?6!;329!1$,,5'8/56!;9$!

1:5'25)!2957<!!H936!+:$43)5)!$++$:2/(32356!.$:!+,'-5:6!2$!%51$75!7$:5!';':5!$.!1$,,5'8/56U!3(25:5626&!2$!)361$45:!3(25:5623(8!%$$?7':?6&!'()!2$!3(1:5'65!2953:!3(25:562!3(!1$(2:3%/23(8!(5;!6$13',!%$$?7':?6<!

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

!R38/:5!"]!L559345!A$3(26U!,5')5:%$':)!

!R38/:5!C]!H95!P$85':!='75!

! "!

#$%&!'()!*+,'-./,0!'123432356!73892!%5!.:$;(5)!/+$(!%-!57+,$-5:6<!!='73.31'23$(!3(!295!5(25:+:365!1$/,)!%5!#/623.35)!'6!'!%5225:!/65:!5>+5:35(15!.$:!)'2'!1$,,5123$(!2$!6$,45!;$:?@:5,'25)!+:$%,576&!3<5<!*='756!.$:!'!A/:+$650!BCCD<!!E$&!!"#$%1'(!;5!8'73.-!;$:?!3(!295!.3:62!+,'15F!

G7+,$-556!':5!($2!',;'-6!5(8'85)!3(!+/:5!;$:?!',,!295!2375<!!H95:5!':5!23756!;95(!295-!73892!7$75(2':3,-!)362:'12!295765,456&!6/19!'6!%-!6$13',3I3(8!$:!;5%!6/:.3(8<!!J5!+:$+$65!29'2!'(!37+$:2'(2!1$(63)5:'23$(!.$:!'++,-3(8!8'73.31'23$(!;3293(!295!5(25:+:365!36!.3()3(8!6/19!23756&!'()!.$1/63(8!$(!29$65!29'2!':5!'115+2'%,5!2$!'(!$:8'(3I'23$(<!!H9565!':5!$++$:2/(32356!.$:!'!*7$75(2!$.!+,'-0!@!295!'++:$+:3'25!2375!.$:!8'75!5,575(26!2$!7'(3.562!3(!295!;$:?!1$(25>2<!!K(!295!.$,,$;3(8!65123$(6&!;5!5>'73(5!7$75(26!$.!+,'-!3(!6545:',!+'62!8'73.31'23$(!+:$#5126!3(!KLM&!'()!1',,!.$:!./:295:!:565':19!3(2$!/()5:62'()3(8!7$75(26!$.!+,'-!3(!1$77/(32-&!25'7&!'()!3()343)/',!5(25:+:365!5>+5:35(156<!!N/:!5>'73('23$(!3(1,/)56!'6-(19:$($/6!'6!;5,,!'6!6-(19:$($/6!5>+5:35(156<!!J5!9389,3892!6-(19:$($/6!5>+5:35(156!'6!+':231/,':,-!19',,5(83(8!.$:!.3()3(8!295!7$75(2!$.!+,'-<!!K7+,575(23(8!6-(19:$($/6!8'73.31'23$(!5,575(26!36!19',,5(83(8!%51'/65!295-!:5O/3:5!7$:5!29'(!$(5!3()343)/',!2$!%5!3(25:'123(8!&'%'"#%(&)#%'*)#+%='73.31'23$(!.5'2/:56!29'2!1'(!%5!+5:.$:75)!'6-(19:$($/6,-!1'(!%5!+5:.$:75)!'2!'(-!2375!1$(45(35(2!.$:!57+,$-556<!

!"#$%&'()*+,+$-(-..*%/*%01-$.*01$%2)1*3%4'+5*6%%7"+$7'()*H95!.3:62!5>'7+,5&!295!P$85':!='75!QR38/:5!CS!3(1$:+$:'25)!'!63(8,5!+,'-5:!8/5663(8!8'75!;329!'(!3(25:(',!5(25:+:365!6$13',!%$$?7':?3(8!6-6257!BTD<!!A,'-5:6!7'2195)!6$13',!%$$?7':?6!;329!1$,,5'8/56!;9$!

1:5'25)!2957<!!H936!+:$43)5)!$++$:2/(32356!.$:!+,'-5:6!2$!%51$75!7$:5!';':5!$.!1$,,5'8/56U!3(25:5626&!2$!)361$45:!3(25:5623(8!%$$?7':?6&!'()!2$!3(1:5'65!2953:!3(25:562!3(!1$(2:3%/23(8!(5;!6$13',!%$$?7':?6<!

H95!8'75!7'(3.5625)!'6!'!+,/83(!2$!295!1$:+$:'25!3(62'(2!7566'83(8!1,35(2&!'!2$$,!(5':,-!',;'-6!'12345&!7'?3(8!32!O/31?!'()!5'6-!2$!3(323'25!'!:$/()!$.!+,'-&!1'+32',3I3(8!$(!3()343)/',6U!6+':5!2375!V!2936!8'75U6!*7$75(2!$.!+,'-0<!H936!1$/,)!3(!2/:(!,5')!2$!7$75(2!$.!,5':(3(8&!;95:5!295!+,'-5:!1$/,)!)361$45:!'!%$$?7':?!$.!+5:6$(',!3(25:562!$:!'(!/(?($;(!3(25:562!$.!'!1$,,5'8/5<!W6!3(1$::512,-!8/5665)!%$$?7':?6!1$/,)!',6$!%5!:51$775()5)!2$!1$,,5'8/56&!2936!7$75(2!1$/,)!9'45!%:$')5:!37+'12!$(!295!+,'-5:U6!6$13',!(52;$:?<!=345(!29'2!2936!;'6!+:565(25)!'6!'(!$+23$(',&!69$:2&!1'6/',!8'75!V!295!P$85':!='75!)5+5()6!$(!295!3()343)/',!57+,$-55U6!'4'3,'%3,32-!.$:!'!%:35.!)362:'123$(!.:$7!'12/',!;$:?<!!!X$(5295,566&!295!3(323',!$(5!7$(29!2:3',!$.!295!8'75!9')!YZ!+,'-5:6!.:$7!7$:5!29'(!25(!1$/(2:356<!

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

!R38/:5!"]!L559345!A$3(26U!,5')5:%$':)!

!R38/:5!C]!H95!P$85':!='75!

! "!

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

!"#$%&$'$()*$(*+,%-*.(/$0"(-,(12*L,+!(+9/!/&$!+9:4;%+0!+9:4'(+8!/,+!60+!$>!):4+!+%+4+(/0!'(!/+:4!=$(/+9/0C!!J(!$67!>$67/,!+9:4;%+1!/,+!*%6+)7:00!;7$M+=/!+9;%$7+8!0$=':%'N:/'$(!:(8!=$%%:E$7:/'$(!:4$()!0$>/&:7+!+()'(++70!@OBC!!L,'0!&:0!E6'%/!:0!:!"H!-'7/6:%!&$7%8!'(!:!/:EPE:0+8!;%6)'(!/$!:(!+(/+7;7'0+!0$>/&:7+!8+-+%$;4+(/!+(-'7$(4+(/!5#')67+!A<C!!L:0?0!=$6%8!E+!=7+:/+8!:(8!4$-+8!E+/&++(!/,+!-'7/6:%!:(8!8+-+%$;4+(/!+(-'7$(4+(/C!!.,$/$0!>7$4!:(!'(/+7(:%!=$7;$7:/+!0$=':%!(+/&$7?'()!0+7-'=+!=$6%8!E+!

'4;$7/+8!:(8!/7:(0>$74+8!'(/$!;6NN%+!):4+0!>$7!;+$;%+!/$!;%:3!:(8!%+:7(!:E$6/!+:=,!$/,+7C!

Q67!>'>/,!+9:4;%+1!/,+!Q%34;60!;7$M+=/!+9;%$7+8!,$&!+4;%$3++0!=:(!;7+0+(/!/,+40+%-+0!'(!$(%'(+!4++/'()0!@RSBC!!L,'0!&:0!'4;%+4+(/+8!E3!:88'()!TH!=:7/$$(P%'?+!:-:/:7!=7+:/'$(1!)+0/67'()1!:(8!4$-+4+(/!>+:/67+0!/$!:!&+EPE:0+8!+P4++/'()!030/+4!=$44$(%3!60+8!'(!/,+!=$4;:(3!5#')67+!U<C!!!

V(%'?+!/,+!H$)+:7!I:4+!:(8!*++,'-+!=:0+01!&+!>$6(8!/,:/!/,+!4$4+(/!$>!;%:3!>$7!E$/,!/$!E+!0')('>'=:(/%3!4$7+!%'4'/+8C!!L,+!H$)+:7!I:4+!:(8!*++,'-+!=:0+0!7+%3!$(!/,+!0;:7+!/'4+!=,$0+(!E3!'(8'-'86:%0F!8'0=7+/'$(!867'()!$7!:>/+7!&$7?!,$670C!!#$7!*%6+)7:001!0&'/=,'()!/$!:!>6%%PE%$&(!"H!+9;+7'+(=+!;7$-+8!/$!E+!/$$!=64E+70$4+!W!0'4;%3!0+//'()!6;!/,+!;%6)'(!:(8!&:'/'()!>$7!/,+!/+:4!/$!4++/!&:0!4$7+!&$7?!/,:(!&$7/,&,'%+C!!Q%34;60!&:0!+:03!/$!8+;%$3!:0!:!&+E!:;;%'=:/'$(1!E6/!&:0!>$6(8!/$!$(%3!E+!60+>6%!E+>$7+!$7!:>/+7!/,+!:=/6:%!$>>'=':%!4++/'()C!!J(!$/,+7!&$7801!/,+!4$4+(/!$>!;%:3!&:0!E+>$7+!$7!:>/+7!+-+73$(+!,:8!/$!+():)+!'(!/,+!E60'(+00!:/!,:(8!'(!/,+!$(%'(+!4++/'()C!

3$2#422$"(*%(5*64140,*3$0,#1$"(2*J(!/,'0!;$0'/'$(!;:;+71!&+!;7$;$0+!/,:/!'8+(/'>3'()!4$4+(/0!$>!;%:3!'0!'4;$7/:(/!&,+(!=$(0'8+7'()!60'()!):4+!8+0')(!+%+4+(/0!'(!+(/+7;7'0+!=$(/+9/0C!!X+!+9:4'(+8!4$4+(/0!$>!;%:3!>7$4!$67!;:0/!;7$M+=/0C!!!

YZ'()%+P;%:3+7[!):4'>'=:/'$(!=:(!E+!:;;%'+8!/$!=,:()+!'(8'-'86:%!0$=':%!E$$?4:7?'()!:(8!=$446('/3!0$=':%!(+/&$7?'()!+9;+7'+(=+01!06=,!:0!'(!/,+!=:0+!$>!/,+!H$)+:7!:(8!/,+!/&$!*++,'-+!+9:4;%+0C!!L,+!4$4+(/!$>!;%:3!8+;+(80!$(!/,+!+4;%$3++F0!'(8'-'86:%!/'4+1!:(8!=:(!;$/+(/':%%3!'4;:=/!$/,+7!+4;%$3++0!&,$!E+(+>'/!

!#')67+!"\!*++,'-+!2$(+3F0!;7$4$/+8!=$(/+(/!

!#')67+!A\!*%6+)7:00!+4E+88+8!'(!:!8+-+%$;4+(/!+(-'7$(4+(/!

! "!

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

!"#$%&$'$()*$(*+,%-*.(/$0"(-,(12*L,+!(+9/!/&$!+9:4;%+0!+9:4'(+8!/,+!60+!$>!):4+!+%+4+(/0!'(!/+:4!=$(/+9/0C!!J(!$67!>$67/,!+9:4;%+1!/,+!*%6+)7:00!;7$M+=/!+9;%$7+8!0$=':%'N:/'$(!:(8!=$%%:E$7:/'$(!:4$()!0$>/&:7+!+()'(++70!@OBC!!L,'0!&:0!E6'%/!:0!:!"H!-'7/6:%!&$7%8!'(!:!/:EPE:0+8!;%6)'(!/$!:(!+(/+7;7'0+!0$>/&:7+!8+-+%$;4+(/!+(-'7$(4+(/!5#')67+!A<C!!L:0?0!=$6%8!E+!=7+:/+8!:(8!4$-+8!E+/&++(!/,+!-'7/6:%!:(8!8+-+%$;4+(/!+(-'7$(4+(/C!!.,$/$0!>7$4!:(!'(/+7(:%!=$7;$7:/+!0$=':%!(+/&$7?'()!0+7-'=+!=$6%8!E+!

'4;$7/+8!:(8!/7:(0>$74+8!'(/$!;6NN%+!):4+0!>$7!;+$;%+!/$!;%:3!:(8!%+:7(!:E$6/!+:=,!$/,+7C!

Q67!>'>/,!+9:4;%+1!/,+!Q%34;60!;7$M+=/!+9;%$7+8!,$&!+4;%$3++0!=:(!;7+0+(/!/,+40+%-+0!'(!$(%'(+!4++/'()0!@RSBC!!L,'0!&:0!'4;%+4+(/+8!E3!:88'()!TH!=:7/$$(P%'?+!:-:/:7!=7+:/'$(1!)+0/67'()1!:(8!4$-+4+(/!>+:/67+0!/$!:!&+EPE:0+8!+P4++/'()!030/+4!=$44$(%3!60+8!'(!/,+!=$4;:(3!5#')67+!U<C!!!

V(%'?+!/,+!H$)+:7!I:4+!:(8!*++,'-+!=:0+01!&+!>$6(8!/,:/!/,+!4$4+(/!$>!;%:3!>$7!E$/,!/$!E+!0')('>'=:(/%3!4$7+!%'4'/+8C!!L,+!H$)+:7!I:4+!:(8!*++,'-+!=:0+0!7+%3!$(!/,+!0;:7+!/'4+!=,$0+(!E3!'(8'-'86:%0F!8'0=7+/'$(!867'()!$7!:>/+7!&$7?!,$670C!!#$7!*%6+)7:001!0&'/=,'()!/$!:!>6%%PE%$&(!"H!+9;+7'+(=+!;7$-+8!/$!E+!/$$!=64E+70$4+!W!0'4;%3!0+//'()!6;!/,+!;%6)'(!:(8!&:'/'()!>$7!/,+!/+:4!/$!4++/!&:0!4$7+!&$7?!/,:(!&$7/,&,'%+C!!Q%34;60!&:0!+:03!/$!8+;%$3!:0!:!&+E!:;;%'=:/'$(1!E6/!&:0!>$6(8!/$!$(%3!E+!60+>6%!E+>$7+!$7!:>/+7!/,+!:=/6:%!$>>'=':%!4++/'()C!!J(!$/,+7!&$7801!/,+!4$4+(/!$>!;%:3!&:0!E+>$7+!$7!:>/+7!+-+73$(+!,:8!/$!+():)+!'(!/,+!E60'(+00!:/!,:(8!'(!/,+!$(%'(+!4++/'()C!

3$2#422$"(*%(5*64140,*3$0,#1$"(2*J(!/,'0!;$0'/'$(!;:;+71!&+!;7$;$0+!/,:/!'8+(/'>3'()!4$4+(/0!$>!;%:3!'0!'4;$7/:(/!&,+(!=$(0'8+7'()!60'()!):4+!8+0')(!+%+4+(/0!'(!+(/+7;7'0+!=$(/+9/0C!!X+!+9:4'(+8!4$4+(/0!$>!;%:3!>7$4!$67!;:0/!;7$M+=/0C!!!

YZ'()%+P;%:3+7[!):4'>'=:/'$(!=:(!E+!:;;%'+8!/$!=,:()+!'(8'-'86:%!0$=':%!E$$?4:7?'()!:(8!=$446('/3!0$=':%!(+/&$7?'()!+9;+7'+(=+01!06=,!:0!'(!/,+!=:0+!$>!/,+!H$)+:7!:(8!/,+!/&$!*++,'-+!+9:4;%+0C!!L,+!4$4+(/!$>!;%:3!8+;+(80!$(!/,+!+4;%$3++F0!'(8'-'86:%!/'4+1!:(8!=:(!;$/+(/':%%3!'4;:=/!$/,+7!+4;%$3++0!&,$!E+(+>'/!

!#')67+!"\!*++,'-+!2$(+3F0!;7$4$/+8!=$(/+(/!

!#')67+!A\!*%6+)7:00!+4E+88+8!'(!:!8+-+%$;4+(/!+(-'7$(4+(/!

! "!

#$%&!'(%)*+$,-!.'&/(.!&%&+()!%$!0*%%-+!)%!+(.'.+!/(!

)*+!-'&+!'0)/1/)23!!4*/-!)/&+!&/.*)!5+!0%(-)$6+7!'-!

8%$9:$+;')+7!<+3.3!-+'$0*/(.!#%$!9+2!/(#%$&')/%(=!

/7+()/#2/(.!6-+#6;!0%()'0)->!%$!-?'$+!)/&+!<+3.3!'!5$/+#!

7/-)$'0)/%(!0%&?'$'5;+!)%!8+5!-6$#/(.>3!

@%$9!8/)*/(!)*+!+()+$?$/-+!%#)+(!$+A6/$+-!)+'&!

?'$)/0/?')/%(=!-60*!'-!-%#)8'$+!7+1+;%?&+()!<+3.3!!

B;6+.$'-->!'(7!56-/(+--!&++)/(.-!<+3.3!C;2&?6->3!!

D+$+=!)*+!&%&+()!%#!?;'2!/-!'!;/&/)+7!$+-%6$0+!-*'$+7!

52!)*+!)+'&3!E'0)%$-!;/9+!0%$?%$')+!06;)6$+=!)*+!)+'&,-!

-%0/';!(%$&-=!'(7!;+'7+$-*/?!-)2;+!0'(!7/0)')+!8*+(!/)!/-!

'??$%?$/')+!#%$!'!)+'&!)%!?'$)/0/?')+!/(!'!.'&/#/0')/%(:

5'-+7!+F?+$/+(0+3!!4*+!0%(-/7+$')/%(-!#%$!'!&%&+()!%#!

?;'2!52!%(+-+;#!&'2!5+!7/##+$+()!#$%&!'!&%&+()!%#!?;'2!

8/)*!'!0%;;+'.6+=!%$!8/)*!'!0;/+()!G!-60*!'-!%6$!%8(!

+F?+$/+(0+-!8/)*!H&6;)/?;'2+$I!1+$-6-!H-/(.;+:?;'2+$I!

.'&/#/0')/%(3!!E/(7/(.!)*+!$/.*)!&%&+()!%#!?;'2!&'2!

';-%!5+!+--+()/';!#%$!0+$)'/(!;+'$(/(.!+F?+$/+(0+-!G!

+F)+(7/(.!)*+!;+'$(/(.!-)$')+.2!%#!H+($/0*&+()I3!

@+!5+;/+1+!)*+$+!'$+!$+-+'$0*!%??%$)6(/)/+-!#%$!

.'&/#/0')/%(!8/)*/(!)*+!+()+$?$/-+3!!J'/(/(.!'!5+))+$!

6(7+$-)'(7/(.!%#!&%&+()-!%#!?;'2!/(!/(7/1/76';!'(7!

0%&&6(/)2!0%()+F)-!0'(!*+;?!#6$)*+$!)*/-3!!K'(!'!

&%&+()!%#!?;'2!5+!5+(+#/0/';!'(7!'))$'0)/1+!)%!)*+!

/(7/1/76';=!0%;;+'.6+-=!'-!8+;;!'-!)*+!0%$?%$')/%(L!!!4*+!

8%$9!0%()+F)!%#!)*+!)+'&=!?'$)/06;'$;2!-2(0*$%(%6-!

)+'&8%$9!7+-+$1+-!-?+0/';!'))+()/%(!52!$+-+'$0*+$-!

'(7!?$'0)/)/%(+$-!-++9/(.!)%!0*'(.+!)*+!#6)6$+!%#!8%$9!

/(!)*+!0%$?%$')/%(3!

!"#"$"%&"'([1] K%%9=!M3!!@*2!8+!)6$(+7!N/0$%-%#)!C##/0+!/()%!'!.'&+3!!*))?OPP8883;%-).'$7+(30%&PQRSRPRTP!

8%$70'&?:QRSR:8*2:8+:)6$(+7:&/0$%-%#)3*)&;!

[2] M+)+$7/(.=!U3!!V'8(+73!!J'&/#/0')/%(!'(7!/)-!7/-0%()+()-3!!V;'2#6;!QRSR3!!*))?OPP8883-;/7+-*'$+3(+)P!

7/(.-P?'8(+7:.'&/#/0')/%(:'(7:/)-:7/-0%()+()-!

[3] M6.'(=!K3=!N6;;+$=!N3=!N/;;+(=!M3=!J+2+$=!@3=!B$%8(*%;)W=!X3=!N%%$+=!N3!!4*+!7%.+'$!.'&+O!'!-%0/';!

5%%9&'$9!$+0%&&+(7+$!-2-)+&3!!Y(!!"#$%&'()*!&+,-=!ZKN!V$+--!<QRR[>=!\][:\^R3!

[4] E'$W'(=!_3=!M/N/00%=!`3=!B$%8(*%;)W=!X3!!U?$+'7/(.!)*+!*%(+2O!'!-2-)+&!#%$!&'/()'/(/(.!'(!%(;/(+!

0%&&6(/)23!!Y(!!"#$%&'()*!&+,./&ZKN!V$+--!<QRR^>=!\S:"R3!

[5] E'$W'(=!_3=!M/N/00%=!`3=!N/;;+(=!M3=!M6.'(=!K3=!J+2+$=!@3=!B$%8(*%;)W=!X3!!_+-6;)-!#$%&!7+?;%2/(.!'!

?'$)/0/?')/%(!/(0+()/1+!&+0*'(/-&!8/)*/(!)*+!

+()+$?$/-+3!!Y(!!"#$%&012&+,3=!ZKN!V$+--!<QRR]>=!Ta\:T[Q3!

[6] E'$W'(=!_3=!M/N/00%=!`3=!N/;;+(=!M3=!B$%8(*%;)W=!B3=!J+2+$=!@3=!M6.'(=!K3!!@*+(!)*+!+F?+$/&+()!/-!%1+$O!

M+?;%2/(.!'(!/(0+()/1+!-2-)+&!)%!';;!)*+!6-+$-3!!Y(!

4567%!#8&!9":;<:=>9&?9$@3=!/(!0%(b6(0)/%(!8/)*!A24B&C,,3&0#8>98D=#8=!Z?$/;!QRR]3!

[7] N0M%(';7=!N3=!N6--%(=!_3=!'(7!U&/)*=!_3!!c-/(.!V$%760)/1/)2!J'&+-!)%!V$+1+()!M+#+0)-3!!Y(!?@9&!"<$D=$<E&';=F9&D#&G9H9$D&!"9>98D=#8=!N/0$%-%#)!V$+--!<QRR]>=![^:^T3!

[8] _%*';;=!U3=!K*+(.=!d3=!'(7!V'))+$-%(=!`3!!B;6+.$'--O!d+--%(-!#%$!7+?;%2/(.!1/$)6';!8%$;7-!8/)*/(!)*+!

+()+$?$/-+3!!Y(!@%$9-*%?!%(!e/$)6';!@%$;7-=!

K%;;'5%$')/%(=!'(7!@%$9?;'0+!V$%760)/1/)2=!KUK@!QRR]3!

[9] U+$/%-/)2!Z))+()3!!*))?OPP5;%.3-+$/%-/)230%&P?$%760)-3*)&;!

[10] U*'&/=!f3U3=!K*+(.=!d3=!_%*';;=!U3=!U+&?+$+=!Z3=!'(7!V'))+$-%(=!`3!!Z1')'$!&++)!&++)/(.-O!7+-/.(!/--6+-!

/(!/()+.$')/(.!'1')'$-!/(!7/-)$/56)+7!0%$?%$')+!&++)/(.-3!!

Y(!!"#$%&'()*!&+I,/&ZKN!V$+--!<QRSR>=!\T:""3!

gSSh!1%(!Z*(=!d3!'(7!M'55/-*=!d3!!M+-/.(/(.!.'&+-!

8/)*!'!?6$?%-+3!!0#66%&A0J=!Z6.6-)!QRR]=!T]:a[3!

!

E/.6$+!TO!C;2&?6-!+&5+77/(.!

'1')'$-!')!)*+!5%))%&!%#!'(!

+&++)/(.!

AsynchronousIndividual discretionPersonal timeWhenever there is a free moment

SynchronousLimited shared timeTeam, social, corp contextBefore or afterwards

Page 38: CHI 2011 Gamification Workshop

flickr: julianlim http://www.flickr.com/photos/julianlim/4598412264/

Page 39: CHI 2011 Gamification Workshop

Gifford Cheung,The Information School / dub Group

University of Washington, Seattle

Page 40: CHI 2011 Gamification Workshop

Assertion

A clear theoretical understanding of

how players make moves in a gaming

context will provide a framework for

understanding the impact of

game elements in non-gaming

contexts.

Page 41: CHI 2011 Gamification Workshop

a Knowledge-based view of action(Giddens, 1984)

Page 42: CHI 2011 Gamification Workshop

3 kinds relationship between action and knowledge

discursive: explainable weighed chess move

practical: habitual, verbally-unexpressed turn order, checking into 4square

unconscious: inhibited rationale

Page 43: CHI 2011 Gamification Workshop

dimensions of game media

discursive: explainable weighed chess move

practical: habitual, verbally-unexpressed turn order, checking into 4square

unconscious: inhibited rationale

3 Adversity:

Where is the line

between discursive and

practical?

See also: Winograd & Flores, 1987

1 Presence:

(explainable/focused)

2 Readiness:

(habitual/practical)

Page 44: CHI 2011 Gamification Workshop

applied: finding a desired balance between game and non-game

3 Adversity:

Where is the line

between discursive and

practical?

1 Presence:

(explainable/focused)

2 Readiness:

(habitual/practical)

Do the game elements

direct attention

away from

the desired activities

of non-game

elements?

(e.g. driving vs.

eco-gaming feedback)

What habitual

rhythm

is promoted by

the medium

for the game

(e.g. 4square

checkins)

and how is that aided

or disrupted by the

environment?

Taking the context

together as a whole,

different elements of

the experience alter the

adversity experienced

by the players. When

adversity is high, is this

the ideal challenge for

gamification?

Page 45: CHI 2011 Gamification Workshop

Future directions

Discussing the applicability of these dimensions

is an interesting challenge. Both for

understanding game elements and designing

them.

Further discussion of alternate theories of

action, additional dimensions of games is

welcome!

Page 46: CHI 2011 Gamification Workshop

Roleplaying gamification to encourage

social interactions at partiesSungwon P. Choe

Network Computing LabKAIST, Korea

Page 47: CHI 2011 Gamification Workshop

AWE Wine Party

It’s a networkingparty.

Yeah! In Daejeon, Korea…

Yeah! In Daejeon, Korea

Page 48: CHI 2011 Gamification Workshop

What A Party Host Wants

He wants it to be successful.

So, a friendlyatmosphere and

enjoyable interactions, right?

Page 49: CHI 2011 Gamification Workshop

Party Host Concerns

Prevent and Resolve Social Problems

Making sure I don’t DJ too loud…

… and that there’s enough wine

I don’t know anybody here…

Overdrinking, fighting….

Prevent and Resolve Logistical Problems

Help People Socialize

Page 50: CHI 2011 Gamification Workshop

Party Behaviors

They observed some

socializing behaviors

Some are more social than others….

Page 51: CHI 2011 Gamification Workshop

More Social Behaviors

Deep Talker

…and are having an involved

conversation…

We found a common interest…

“Matchmaker”

My friend here studies in the same field…

Bridger

My friendshere also like salsa dancing…

Page 52: CHI 2011 Gamification Workshop

Party Behaviors

Yeah, and…

Some are less social!

Page 53: CHI 2011 Gamification Workshop

Less Social BehaviorsI don’t know anybody here…

Wallflower Wanderer

I guess I’ll walk over here…

Hit-and-runner

Who should I talk to next?

Page 54: CHI 2011 Gamification Workshop

Initial Game Design

So they can encourage “more social” behaviors…

…with gamification!

Page 55: CHI 2011 Gamification Workshop

Initial Game Design

Yeah, you could

complete a deep talker quest..

…and win a

Page 56: CHI 2011 Gamification Workshop

Current Work

How far have they gotten?

Well, there are 3 stages…

Page 57: CHI 2011 Gamification Workshop

Current WorkThey asked us to wear these

sensor badges

Stage 1: Collecting & Analyzing Data

To notify the host of

wallflowers and wanderers…

Stage 2: Party Host App

…and guests who might need help!Stage 3: Gamification App

Deep TalkingMatchmaking

Page 58: CHI 2011 Gamification Workshop

Gamification and Location-sharingsome emerging social conflicts

Henriette CramerPost-doc researcher @ Mobile Life Centre, @hsmcramerMobile apps, Location-based services, Bots & Autonomous ‘things’, Social Computing, [email protected]

Presenter: Zeynep AhmetJunior researcher @ Mobile Life Centre, Mobile eco-systems, Service distribution models, Location-sharing services, Research-in-the-large. [email protected]

Page 59: CHI 2011 Gamification Workshop

Location-sharing & check-ins

A check-in

- Manual pairing with semantic ‘venues’- Mix between private & public

- Potentially very large audiences

Page 60: CHI 2011 Gamification Workshop

As in Barkhuus et al., 2008: Brown et al., 2008, Tang et al., 2010, Consolvo, 2005 & many more location-sharing studies:

Utilitarian uses:

easing coordination, lightweight communication, serendipitous meet-ups

Social- and identity-driven uses:

sharing lifestyle, events and sharing interesting information, self-presentation.

But there’s more!

Page 61: CHI 2011 Gamification Workshop

Gamification

points, badges, mayorships

individual & social achievements

social: competition, ownership & mayorship battles

Page 62: CHI 2011 Gamification Workshop

‘where was that?’

‘play’express who you are

inform

meet-ups

(un)plan

share life events

recommend a venue

share your opinion

check out the locals

build your identity

get a discount

‘own’ a place pass the time

‘where was I?’

Gamification elements have to co-exist with other motivatorsIf conflicts are inevitable, make the most of them!

voyeurism

Page 63: CHI 2011 Gamification Workshop

More info?

mobilelifecentre.orgmobile-20.blogspot.com

henriettecramer.com

Page 64: CHI 2011 Gamification Workshop

DESIGN CHALLENGES IN PLAYABLE DATA Nicholas A. Diakopoulos, Ph.D. Rutgers University, School of Communication and Information

Score: 50,000 Level: 12

Page 65: CHI 2011 Gamification Workshop

GAME-Y INFOGRAPHIC CONCEPT

Retrieve Value Anomalies Range Filter Sort Cluster Correlate Extremes Distribution

Mechanics Answering ?s

Guessing Firing

Aiming Managing Resources

Design Elements Goals Rules

Scores / Rewards Competition

Advancement

Page 66: CHI 2011 Gamification Workshop

AN EXAMPLE: SALUBRIOUS NATION

Page 67: CHI 2011 Gamification Workshop

CHALLENGE AND BALANCE FOR DYNAMIC DATA

•  Does the game break if data is updated, incomplete?

•  Different data can change difficulty.

•  How to make game designs adaptable?

Page 68: CHI 2011 Gamification Workshop

COORDINATES

Nick Diakopoulos Twitter: @ndiakopoulos Email: [email protected] Web: http://www.nickdiakopoulos.com

http://www.salubriousnation.com http://sm.rutgers.edu/vox

Page 69: CHI 2011 Gamification Workshop

CHI 2011 Workshop on Gamification

Kathrin Gerling, M.Sc.Entertainment Computing Group, University of Duisburg-EssenInteraction Lab, University of Saskatchewan

[email protected]

Page 70: CHI 2011 Gamification Workshop

• Demographic development in western societies leads to an increased group of (frail) elderly persons [8]

• Research results suggest positive effects of digital games on cognitive, emotional and physical well-being of elderly [1, 6]

• Game elements and games have successfully been integrated into physical therapy and cognitive training, e.g. [1, 7]

Further exploration of the augmentation of routine tasks and leisure activities through gamification

Examination of challenges arising from the characteristics of the target audience, e.g. age-related impairments

Page 71: CHI 2011 Gamification Workshop

• Augmentation of regular tasks‐ Motivating users to remain active,

participate in therapy, ...

‐ Competition with peers is an important factor

• Re-creating inaccessible real-world experiences

• Gamification for social interaction‐ Fostering relationships between

elderly persons

‐ Re-connecting different generations

Page 72: CHI 2011 Gamification Workshop

• Impact of age-related changes and impairments [3, 5]

• Lack of gaming experience among today‘s elderly‐ No domain knowledge, no common ground in digital gaming

‐ Often extensive board and card gaming experience

Gamification approaches cannot benefit from gaming literacy

• Creation of rewarding experiences‐ Importance of meaningful play, personal development

‐ High level of usability and accessibility necessary

• Workload and computer literacy of nursing staff

Access barriers have to be reduced to allow elderly persons toengage in playful activities

Page 73: CHI 2011 Gamification Workshop
Page 74: CHI 2011 Gamification Workshop

Jettie Hoonhout and Bernt MeerbeekPhilips ResearchMay 7, 2011

Brainstorm Triggers: game characteristics as input in ideation

Page 75: CHI 2011 Gamification Workshop

Concept development at Philips Research: some examples

���������������� � �������������������������

Philips Research, May 7, 2011

�������� ������

Page 76: CHI 2011 Gamification Workshop

Research work around games: some examples

amBX Entertaible

Philips Research, May 7, 2011

amBX Entertaible

StoryToy SplashBall

Page 77: CHI 2011 Gamification Workshop

UX input early on in the development

• Problem description:– User experience (i.e., affective aspects) increasingly important in

product development– Many evaluation tools, rather few early stage tools– How to incorporate UX input early on?

Philips Research, May 7, 2011 4

– How to incorporate UX input early on?

• Possible approach:– Games are ultimate user experience, strong affective appeal– Can game elements be used for consumer electronics?– Why not use game application rules as triggers in brainstorms…

• E.g.: perceived progress, clear goals, curiosity&exploration, competition

Page 78: CHI 2011 Gamification Workshop

Robot vacuum cleaner case

• Example brainstorm idea used in concepts: robot vacuum cleaner shows in a fun way that it is putting extra effort in cleaning a very dirty spot (also well-liked in subsequent evaluation by consumers)

Philips Research, May 7, 2011 5

• Learnings regarding brainstorm triggers:

– Appears to result in different type of ideas (more playful) compared to “normal” brainstorms

– Not all triggers easy to work with � adapt process

– Not all triggers seem suitable for consumer electronics…

Page 79: CHI 2011 Gamification Workshop
Page 80: CHI 2011 Gamification Workshop

“Gamification” from the perspective of service marketing

CHI 2011, Gamification Workshop

Kai HuotariJuho Hamari Helsinki Institute of Information Technology HIIT

Page 81: CHI 2011 Gamification Workshop

Emergence of service marketing Classical marketing theory is based on the exchange of physical goods and cannot provide a sufficient understanding on services.

Vargo & Lusch (2004) launched the term service-dominant (S-D) logic for marketing and proclaimed that the service approach should replace the classical marketing theory.

Value-in-use approach helps explain the ubiquitous applicability of the service logic and the profound difference between the traditional, goods-dominant logic and the new service-dominant logic.

In traditional marketing theory, value is considered to be created during the production process by the company and to be embedded in the product.

Service marketing literature sees the customer always participating in the production process as the value is generated only once the customer uses the service or the good.

Page 82: CHI 2011 Gamification Workshop

Service, service system and service package

Vargo and Lusch (2004) define service as “the application of specialized competences (knowledge and skills), through deeds, processes, and performances for the benefit of another entity or the entity itself”. Thus, any intentional act - no matter how small - that helps an entity can be considered a service.

“Service system is an arrangements of resources (including people, technology, information, etc.) connected to other systems by value propositions”. (Spohrer et al., 2008)

Service package (Grönroos, 2007) helps firms manage bundled services or service systems. The basic service package consists of the core service, enabling services and enhancing services. Enabling services are required for the offering of the core service while enhancing services support the offering of the core service and thus increase its value or differentiates it from the services of the competitors.

Page 83: CHI 2011 Gamification Workshop

Games as service systems

Salen & Zimmerman (2004): “Game is a system in which players engage in an artificial conflict, defined by rules, that result in a quantifiable outcome”.

Cook (2006): “Game mechanics are rule based systems / simulations that facilitate and encourage a user to explore and learn the properties of their possibility space through the use of feedback mechanisms.”

Looked through the service marketing literature described above, game mechanics can be seen as services and games as service systems.

Page 84: CHI 2011 Gamification Workshop

A Proposed definition for gamification

Gamification is a form of service packaging where a core service is enhanced by a rules-based service system that provides feedback and interaction mechanisms to the user with an aim to facilitate and support the users’ overall value creation.

Page 85: CHI 2011 Gamification Workshop

Thank you!

Question/comment?

Contact: [email protected] [email protected]

Page 86: CHI 2011 Gamification Workshop

CHI2011 Gamification Workshop

ECODRIVING

Ohad Inbar Noam Tractinsky Ben Gurion University

Omer Tsimhoni Thomas Seder

General Motors

Page 87: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Eco Driving

Eco-driving is a win-win proposition for:

  Individuals, who can benefit from reduced fuel consumption.

  Society, through reduced emissions.

Page 88: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Existing Designs

Chevrolet  Volt   Ford’s  EcoGuide    

Kia  Soul   Honda  Insight  

Page 89: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Gamifying Driving

“When we observed hybrid drivers, we found they

were going for high scores, a gaming behavior that

has never existed in cars before.”

- Steve Bishop, IDEO

Page 90: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Proposed Framework

Private  

Eco-­‐driver  of  the  day  award  

Your  name  on  a  variable  message  sign  

In-­‐car  messages  

Permit  to  use  carpool  lane  

Public  

External  Internal  

Page 91: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Example

Public + External: Your name on a variable message sign

Private  

Eco-­‐driver  of  the  day  award  

Your  name  on  a  variable  message  sign  

In-­‐car  messages  

Permit  to  use  carpool  

lane  

Public  

External  Internal  

Page 92: CHI 2011 Gamification Workshop

ECODRIVING

CHI2011 Gamification Workshop

Future Research

1.  Employ ethnographic methods to study the actual

interaction of drivers with existing eco-driving interfaces.

2.  Study the effects of ‘tangible’ (monetary-like) rewards on

drivers’ attitudes.

3.  Explore the effects of social

interaction and social networks

on the relationship dimension.

Private  

Eco-­‐driver  of  the  day  award  

Your  name  on  a  variable  message  sign  

In-­‐car  messages  

Permit  to  use  carpool  

lane  

Public  

External  Internal  

Page 93: CHI 2011 Gamification Workshop

CHI2011 Gamification Workshop

ECODRIVING

Ohad Inbar

[email protected]

Page 94: CHI 2011 Gamification Workshop

Play  Society    

CHI  Gamifica+on  Workshop  8.5.2011  

Page 95: CHI 2011 Gamification Workshop

Playful  Events  

Collec3on  

Play  Society  Project  Structure  

Hypothesis  Playfulness  

Proto  design  and  

Development  

Experiments  

Analysis   More  Experiments  

Valida+on  

2011     2012-­‐2013    

Synthesis  

Playfulness  Model  

Development  

Design  Recommenda+ons  

Page 96: CHI 2011 Gamification Workshop

Playfulica+on  and  Gamifica+on  

•  Playfulica+on  are  aligned  topics,  but  not  the  same.    •  Strict  differen+a+on  is  not  necessarily  feasible    

•  BoQoms  up  conceptualiza+on  of  playfulness  •  Iden+fy  real  playful  events  (long  list)    ⇒   Form  clusters    ⇒   Elaborate  clusters  structural  founda+ons  

•  Theore+cal  founda+ons  are  based  on  the  PLEX  work  (see  for  example  Korhonen  et  al  DPPI  2009)  

Page 97: CHI 2011 Gamification Workshop

Mayor or patron? The difference between a badge and a meaningful story. Matthias Laschke//Marc Hassenzahl Folkwang University of the Arts

Page 98: CHI 2011 Gamification Workshop

Mayor or patron? The story

It is a beautiful day. Eva plans visiting her favorite pub the “zweibar”. She strolls to the “zweibar”.

Page 99: CHI 2011 Gamification Workshop

While Eva’s mind is already in the “zweibar”, Foursquare offers Sarah a 300 'Explorer' badge.

Mayor or patron? The story

Page 100: CHI 2011 Gamification Workshop

While Eva’s mind is already in the “zweibar”, Foursquare offers Sarah a 300 'Explorer' badge. She also strolls to the “zweibar”.

Mayor or patron? The story

Page 101: CHI 2011 Gamification Workshop

Mayor or patron? The story

Eva thinks about the nice atmosphere and her preferred waitress Lisa.

Page 102: CHI 2011 Gamification Workshop

Mayor or patron? The story

Sarah thinks about getting the 300 ‘Explorer’ badge.

Page 103: CHI 2011 Gamification Workshop

Both arrive at the same time. While Eva’s mind is set on pleasant anticipation, Sarah still thinks about her badge.

Page 104: CHI 2011 Gamification Workshop

Mayor or patron? The story

As expected, Eva’s bar-experience is really good. Lisa is on duty and many other good friends are there. She feels rewarded by the situation in itself.

Page 105: CHI 2011 Gamification Workshop

Mayor or patron? The story

Sarah feels a bit left alone. It’ s definitely not her first time in a bar, but the “zweibar” is new to her. Could Foursquare offers something beyond a badge?

Page 106: CHI 2011 Gamification Workshop

Mayor or patron? The story

It could…

Explore all locations in the bar. One could be your favorite place.

Page 107: CHI 2011 Gamification Workshop

Mayor or patron? The story

Explore all locations in the bar. One could be your favorite place.

Page 108: CHI 2011 Gamification Workshop

Mayor or patron? The story

Explore all locations in the bar. One could be your favorite place.

Page 109: CHI 2011 Gamification Workshop

Talk to a stranger and ask him/her to coffee.

Page 110: CHI 2011 Gamification Workshop

Ask for the first name of the staff. They will be glad.

Page 111: CHI 2011 Gamification Workshop

Try to take a seat next to a nice person. Don’t hesitate!

Mayor or patron? The story

Page 112: CHI 2011 Gamification Workshop

Mayor or patron? The story

Finally, Sarah gets a touch of Eva’s good bar-experiences. She will maybe come back. With or without a offered badge? Her visit could be now filled with meaningful stories and experiences.

Page 113: CHI 2011 Gamification Workshop

Mayor or patron? The story

Instead of simple extrinsic rewarding, gamification systems should offer, help and improve likeliness of worthwhile experiences.

Try to take a seat next to a nice person.

Don’t hesitate!

Explore all locations in the bar. One could

be your favorite place.

Try to take a seat next to a nice person.

Don’t hesitate!

Talk to a stranger and ask him/her

to coffee.

Ask for the first name of the

staff. They will be glad.

Page 114: CHI 2011 Gamification Workshop

Hyun-Jean Lee

The Graduate School of Communication and ArtsYonsei University

Seoul, Republic of Korea

[email protected]

What could media art learn from recent experimental games?

Page 115: CHI 2011 Gamification Workshop

My Background…

→ What is the meaning of “interactivity” ?

→ Why and how interactive experiences can be perceived differently in interactive media art work from fine art work?

Fine Art Interactive Media Art Digital Media

Painting, Video, Installation Art Computer-based Interactive Installation

Theory and Practice in Digital Media

Page 116: CHI 2011 Gamification Workshop

Art as Experience: Interactive Engagement

“A work of art is an individualized participating experience (…) that are imaginatively evoked, summoned, assembled, and integrated are embodied in material existence that here and now interacts with the self””

– Dewey, Art as Experience, 1984

Presenter
Presentation Notes
A work of art is recreated every time that it is esthetically experienced by the viewer. The viewer creates an imaginative relationship with the self through his/her experience with an artwork, and this kind of process can be called “interactive engagement.” In this participation and interaction with the work of art, the most important thing is the interacting with the self. In this sense, according to Dewey, all artwork is interactive. However, questioning why and how interactive experiences can be perceived differently in interactive media art work from fine art work, my former research has examined how the early video art works create different aesthetic experiences from the interactive media art work, particularly focusing on the screen experience[7].
Page 117: CHI 2011 Gamification Workshop

The basic model of feedback loopIn the camera-screen interface, the simultaneous reception and projection of an image

between the camera and monitor with the human body centered in this camera-monitor encapsulation.

Physical and Perceptual Interactivity in Camera-Screen Interface

Presenter
Presentation Notes
The basic model of feedback loop Looking at how physical and perceptual interactivity becomes a central component of the relationship between viewers and many artworks, the research examines that unlike the screen experience in non-interactive artworks (i.e. video art), interactive media screen experiences can provide viewers with a more immersive, immediate, and therefore, more intense experience through its instant feedback system. For example, many digital media artworks provide an interactive experience for viewers by capturing their face or body though real-time computer vision techniques. ---------------------- The nature of video is in its signals, which are kept in constant movement. They are generated inside a camera and circulate between recording and displaying equipment as a closed circuit. Pioneering video art in the 1970s, such as tapes by Vito Acconci and Bruce Nauman videotapes, and video installations Nam June Paik, are typical examples of show the diverse conceptual experiments with this kind of immediate and mirroring condition between the camera and the monitor. While examining these early video works, art critic Rosalind Krauss (1978) claimed that the psychological aspect is the corpus of the video medium. What Krauss observed in early video art was a simultaneous reception and projection of an image between the camera and monitor with the human body centered in this camera-monitor encapsulation as a conduit/medium. The body re-projects the performer’s image with the immediacy of a mirror, and this self-encapsulation of the body or psyche as its own surround creates a narcissistic perception in its closed feedback loop. In my view, this encapsulation and feedback loop has been extended and even more intensified in interactive screen-based media installations. Particularly as common forms of screen-based digital media art, many screen-based installations use a webcam interface, which leads the viewer to react to the object presented on the screen. The clearest examples are interactive video installations, in which the spectator's image or silhouette/shadow becomes an active force in a computer-generated context. We can better see this by looking at four different types of loops:
Page 118: CHI 2011 Gamification Workshop

A physical feedback loop

Physical and Perceptual Interactivity in Camera-Screen Interface

Presenter
Presentation Notes
<A physical feedback loop> 1/2 This loop is in a bracketed situation, where the interactor, camera, and monitors are positioned as in the early video works. Whereas video art encapsulation uses the artist’s body as a medium or conduit in the loop, in an interactive media installation the artist’s body is replaced with the audience’s body. In both cases, bodies are used as an interface.
Page 119: CHI 2011 Gamification Workshop

A physical feedback loop

Physical and Perceptual Interactivity in Camera-Screen Interface

Presenter
Presentation Notes
<A physical feedback loop> 2/2 This loop is in a bracketed situation, where the interactor, camera, and monitors are positioned as in the early video works. Whereas video art encapsulation uses the artist’s body as a medium or conduit in the loop, in an interactive media installation the artist’s body is replaced with the audience’s body. In both cases, bodies are used as an interface.
Page 120: CHI 2011 Gamification Workshop

Physical and Perceptual Interactivity in Computational Interactive Systems

An electronic feedback loop

Presenter
Presentation Notes
An electronic feedback loop of data transferring When video is said to be an electronic medium, this means its origin depends on the electronic transfer of signals [Spielmann, 2008]. Interactive screen-based media also use this electronic signal transmission and even expand this signal circuit so that the circuit between the camera and the monitor includes other sensing systems as input and the larger and multiple displays as output. Sometimes the circuits for sensing system or even displays can be wirelessly connected, but this does not mean that the signal transmission has disappeared.
Page 121: CHI 2011 Gamification Workshop

A code-level feedback loop

Physical and Perceptual Interactivity in Computational Interactive Systems

Presenter
Presentation Notes
<A code-level feedback loop> When we think about programming codes in a procedural system, all codes are structured in closed loop syntax. For example, if this thing happens, then do this next, or if this does not happen, go to another sub-loop to do other things. If every step is executed, return to the first line of code and repeat the whole process again until the system quits. As I discussed, computational interactive systems are based on closed feedback loops. A programmed code is constructed as a subroutine procedure that can be called on at any time during program execution. It is encapsulated into a single command (i.e. a function or a method call) and contains a series of computational instructions in itself.
Page 122: CHI 2011 Gamification Workshop

A psychological feedback loop

Physical and Perceptual Interactivity in Computational Interactive Systems

Presenter
Presentation Notes
<A psychological loop > Finally and most importantly, all the loops described above come under a more intensified psychological loop because of the real-time interactivity between the interactor and the system. In such an interactive system, the system responds to the actions of the interactor, and the interactor responds based on the responses of the system. In this situation, the viewer stands “in-between” of the camera and monitor, as well as the “in-between” of feedback responses between the work as a system and their action. Since the images on the screen update instantly based on the interaction of the interactor, the system keeps encouraging her to make another reaction. This kind of mirrored feedback is helpful in producing a certain effects that lead the viewer to a directly immersed experience in the virtual space. Yet, sometimes this kind of unmediated feedback also provokes peripheral responses from the viewer. Like the system’s immediate responses, the interactor/viewer immediately provokes a shift in action without having a chance to ponder her action from a certain distance. The unmediated feedback of exact mirroring produces a closed system of self-absorption. The reflection of the self becomes the re-absorbed situation. In this situation under real-time feedback, the question of subjectivity can be raised, because if proper distance is not provided between the 'objectivized' view of the self and the reacting self, our subjectivity could be surrendered. Thesis statement:   We can consider the screen-based media experience in the multiple levels of complicated closed feedback loops. By manipulating the boundary conditions of the screen experience, we can open or expand these loops and find the critical distance for the viewer.
Page 123: CHI 2011 Gamification Workshop

Critical Distance for Self-Reflection

As the camera and the monitor in the artwork encapsulate the interactor's body and mind in an instant feedback loop, the interactor becomes a part of the interface mechanism and responds to the artwork system.

This kind of direct mirroring experience in interactive screen-based media artworks hardly allows the viewer the critical distance or time needed for self-reflection.

Therefore, in media art experience, the critical distance or time needed for self-reflection in the course of interaction needs to be greatly considered.

And the interactive mechanism based on computational closed feedback system needs to be approached more philosophically and aesthetically.

Presenter
Presentation Notes
What I focused on in this situation was that as the camera and the monitor in the artwork encapsulate the interactor's body in an instant feedback loop, the interactor becomes a part of the interface mechanism and responds to the artwork as the system leads or even provokes them. This kind of direct mirroring experience in interactive screen-based media artworks hardly allows the viewer the critical distance or time needed for self-reflection. Therefore, in media art experience, the critical distance or time needed for self-reflection in the course of interaction needs to be greatly considered. And the interactive mechanism based on computational closed feedback system needs to be approached more philosophically and aesthetically.
Page 124: CHI 2011 Gamification Workshop

Currently I am …

Teaching Graduate Students in Media Art major ...

Teaching “Game Design and Culture” for Undergraduates …

Page 125: CHI 2011 Gamification Workshop

What Could Media Art Learn from Recent Experimental Games?

The diverse approaches in experimental game practice and research becomes useful references to enrich interactive experience.

Persuasive Game

Newsgame

Pervasive Game

…Casual Game

Presenter
Presentation Notes
Continuing with this question, these days what I have found useful for this as references are the diverse approaches in experimental game practice and research. This paper discusses three lessons that I want to share to through this examination of how to enrich interactive experience.
Page 126: CHI 2011 Gamification Workshop

What Could Media Art Learn from Recent Experimental Games?

Sophisticated Interactivity

Critical and Aesthetic Attitudes

The Wide and Creative Use of Technologies

Pervasive GameCasual Game

Persuasive GameNewsgame

Persuasive GameNewsgame

For the sophisticated and reflective interaction

Presenter
Presentation Notes
Continuing with this question, these days what I have found useful for this as references are the diverse approaches in experimental game practice and research. This paper discusses three lessons that I want to share to through this examination of how to enrich interactive experience.
Page 127: CHI 2011 Gamification Workshop

Sophisticated Interactivity The methodical and rhetorical approach and understanding to interactivity in game research and practice helps to improve the approach of interactivity in media art.

• Procedural rhetoric: Tighter symbolic coupling between user actions and procedural representation can be produced from the video games.

• Play: The possibility space refers to the myriad configurations that the player might construct to see the ways the processes inscribed in the system work. Thus, while interacting with the system, the player literally fills the gap between subjectivity and the game processes and performs a great deal of mental synthesis.

• Selective modeling in abstraction:The videogame’s method of selectively modeling appropriate elements of that world in “abstraction” creates the “empathetic and dialectical engagement” and “vivid experience” of interaction.

Persuasive Games: The Expressive Power of Videogames, Ian Bogost

Presenter
Presentation Notes
The methodical and rhetorical approach and understanding to interactivity in game research and practice helps to improve the approach of interactivity in media art. “Procedurality” is one of properties in digital media and “agency” is involved to manipulate such a procedural system. In Persuasive Games, Bogost asserts that video games can creatively produce the sophisticated interactivity by incorporating the procedural rhetoric. It can generate tighter symbolic coupling between user actions and procedural representations, due to the “responsive behaviors” in its medium[2]. “Play”: The possibility space refers to the myriad configurations that the player might construct to see the ways the processes inscribed in the system work. Thus, while interacting with the system, the player literally fills the gap between subjectivity and the game processes and performs a great deal of mental synthesis. And the videogame’s method of selectively modeling appropriate elements of that world in “abstraction” creates the “empathetic and dialectical engagement” and “vivid experience” of interaction[2]. This mental and subjective engagement and abstraction in the interactive experience needs to be examined in any artwork considering interactivity. This mental and subjective engagement and abstraction in the interactive experience needs to be examined in any artwork considering interactivity. ---------------- Firstly, the approach to interactivity in game research and practice that has been examined methodically and rhetorically helps to improve the approach of interactivity in media art. As I discussed, computational interactive systems are based on closed feedback loops. A programmed code is constructed as a subroutine procedure that can be called on at any time during program execution. It is encapsulated into a single command (i.e. a function or a method call) and contains a series of computational instructions in itself. “Procedurality” is one of properties in digital media and “agency” is involved to manipulate such a procedural system. But as Murray notes, “mere ability to move a joystick or click on a mouse” is not sufficient cause for agency, because the genuine agency means the embodied participation in an electronic environment [11]. In Persuasive Games, Bogost asserts that video games can creatively produce the sophisticated interactivity by incorporating the procedural rhetoric. Due to the “responsive behaviors” in its medium, it can generate tighter symbolic coupling between user actions and procedural representations[2]. When in game play, “play” means “the free space of movement within a more rigid structure”[14], in a procedural representation like a videogame, the possibility space refers to the myriad configurations that the player might construct to see the ways the processes inscribed in the system work. Thus, while interacting with the system, the player literally fills the gap between subjectivity and the game processes and performs a great deal of mental synthesis. And the videogame’s method of selectively modeling appropriate elements of that world in “abstraction” creates the “empathetic and dialectical engagement” and “vivid experience” of interaction[2]. This mental and subjective engagement and abstraction in the interactive experience needs to be examined in any artwork considering interactivity. The current technology-oriented interactivity based on the simple level of human-computer interaction can refer to this kind of sophisticated interactivity.
Page 128: CHI 2011 Gamification Workshop

Critical and Aesthetic AttitudesIn “Newsgames” and “Persuasive games”The critical and aesthetic attitudes recently presented in game design practice are also useful to enhance the media art interaction to a more critical and reflective level from the cultural and societal sides.

Newsgames, Ian BogostSimon Ferrari and Bobby Schweizer

September 12th Madrid Cut throat Capitalism

McDonald gameEveryday the Same Dream

Presenter
Presentation Notes
The critical and aesthetic attitudes recently presented in game design practice are also useful to enhance the media art interaction to a more critical and reflective level from the cultural and societal sides. “Newsgames” and “Persuasive games” Ex) “September 12th”, “Madrid” by [newsgaming.com] ,“Cutthroat Capitalism”, “Every Day the Same Dream” and “McDonald’s videogame”[molleindustria.org] force players to understand the system dynamics by experiencing it. Also, by experiencing it, the players can think of the event happening in the real world more with a more subjective and critical perspective. ------------- Secondly, the critical and aesthetic attitudes recently presented in game design practice are also useful to enhance the media art interaction to a more critical and reflective level. This lesson can be related to the former lesson about the sophisticated interactivity sought through persuasive games. But if the former discusses the methodical side of its approach, this section is to explore it with the more critical and aesthetic level and from the cultural and societal sides. Recently, diverse experimental games such as “newsgames” and “persuasive games” and the related theoretical research have been introduced[1,2]; i.e. “September 12th”[12], “Madrid”[12], “Cutthroat Capitalism”[3], “Every Day the Same Dream”[5] and “McDonald’s videogame”[5] force players to understand the system dynamics by experiencing it. Also, by experiencing it, the players can think of the event happening in the real world more with a more critical perspective. This becomes an example of journalism and criticism can be incorporated in game design to depict and express their subjective perspective[1,2] and to engage the game players in looking at the same event with a reflective mode. In this way, these games share critical and aesthetical attitudes toward their community and environment. With a slightly different perspective, “pervasive games” also use the strategy to look at the community and neighborhood with critical insights and reconstruct them as a game environment. By using their bodily engagement in the play, in these games players explore how to creatively combine the physical with the digital, life with play, virtual with real[8]. These processes also become a good example showing critical and reflective approaches to think of their subjectivity in the context of play and design at a societal and aesthetical stance.
Page 129: CHI 2011 Gamification Workshop

Critical and Aesthetic Attitudes“Pervasive games”“Pervasive games” also use the strategy to look at the community and neighborhood with critical insights and reconstruct them as a game environment.

By using their bodily engagement in the play, in these games players explore how to creatively combine the physical with the digital, life with play, virtual with real. These processes also show critical and reflective approaches to think of their subjectivity in the context of play and design at a societal and aesthetical stance.

Persuasive Games: Theory and Design, Markus Montola, Jaakko Stenros and Annika Waern

Presenter
Presentation Notes
The critical and aesthetic attitudes recently presented in game design practice are also useful to enhance the media art interaction to a more critical and reflective level. This section is to explore it with the more critical and aesthetic level and from the cultural and societal sides. “Newsgames” and “Persuasive games” Ex) “September 12th”, “Madrid” by [newsgaming.com] ,“Cutthroat Capitalism”, “Every Day the Same Dream” and “McDonald’s videogame”[molleindustria.org] force players to understand the system dynamics by experiencing it. Also, by experiencing it, the players can think of the event happening in the real world more with a more subjective and critical perspective. “Pervasive games”also use the strategy to look at the community and neighborhood with critical insights and reconstruct them as a game environment. By using their bodily engagement in the play, in these games players explore how to creatively combine the physical with the digital, life with play, virtual with real[8]. These processes also become a good example showing critical and reflective approaches to think of their subjectivity in the context of play and design at a societal and aesthetical stance. ------------- Secondly, the critical and aesthetic attitudes recently presented in game design practice are also useful to enhance the media art interaction to a more critical and reflective level. This lesson can be related to the former lesson about the sophisticated interactivity sought through persuasive games. But if the former discusses the methodical side of its approach, this section is to explore it with the more critical and aesthetic level and from the cultural and societal sides. Recently, diverse experimental games such as “newsgames” and “persuasive games” and the related theoretical research have been introduced[1,2]; i.e. “September 12th”[12], “Madrid”[12], “Cutthroat Capitalism”[3], “Every Day the Same Dream”[5] and “McDonald’s videogame”[5] force players to understand the system dynamics by experiencing it. Also, by experiencing it, the players can think of the event happening in the real world more with a more critical perspective. This becomes an example of journalism and criticism can be incorporated in game design to depict and express their subjective perspective[1,2] and to engage the game players in looking at the same event with a reflective mode. In this way, these games share critical and aesthetical attitudes toward their community and environment. With a slightly different perspective, “pervasive games” also use the strategy to look at the community and neighborhood with critical insights and reconstruct them as a game environment. By using their bodily engagement in the play, in these games players explore how to creatively combine the physical with the digital, life with play, virtual with real[8]. These processes also become a good example showing critical and reflective approaches to think of their subjectivity in the context of play and design at a societal and aesthetical stance.
Page 130: CHI 2011 Gamification Workshop

The Wide and Creative Use of Technologies

The wide and rich use of media technologies in games helps to think of the inter-relationship between media and technology for creative media art practice.

• The pervasive games widely use the pervasive technologies and ubiquitous computing.• The novel interface technologies such as Nintendo Wii and Microsoft Xbox Kinect,

involve intuitive user interactions.

A Casual Revolution, Jesper Juul

Nintendo Wii

MS Xbox Kinect

Presenter
Presentation Notes
Lastly, the wide and rich use of media technologies in games helps to think of the inter-relationship between media and technology for creative media art practice. Games always lead the media technology throughout history. However, particularly the recent trends found in game interface methodologies provide significant insights. The pervasive games widely use the pervasive technologies and ubiquitous computing. Therefore, the use of media in these games is flexibly expanded and interestingly approached. Also casual games led by game industries have developed diverse hardware interfaces. The game interface, such as Nintendo Wii[13] and Microsoft Xbox Kinect[9] involve intuitive user interactions, and thus invite the casual players or non-game players to play games[6,8]. These interfaces lead to think of how bodily engaged interactivity can be connected with the mental interactivity. Technology is a new expressive design material that can generate and mediate our future interactions. The novel interface technologies developed in game design will continue to influence on the related research areas such as HCI and media art by expanding the inter-relationship between media and its technologies.
Page 131: CHI 2011 Gamification Workshop

Conclusion

As game design and research have culturally, technologically and theoretically widened, its new possibilities and critical interaction methodologies become to influence on other domains of research and practice, particularly on interactive media art.

The game strategies to involve the sophisticated and reflective interaction from the players deliver useful lessons to be referred.

Presenter
Presentation Notes
As game design and research have culturally, technologically and theoretically widened, its new possibilities and critical interaction methodologies become to influence on other domains of research and practice, particularly on interactive media art. Although the relationship between the critical distance and participation needs to be examined more thoroughly in the future discussion, the game strategies to involve the sophisticated and reflective interaction from the players deliver useful lessons to be referred.
Page 132: CHI 2011 Gamification Workshop

Thank You !

“Aesthetic experience is imaginative. (..) Imagination is the only gateway through which these meanings can find their way into a present interaction. ”

- Dewey, Art as Experience, 1984

Page 133: CHI 2011 Gamification Workshop
Page 134: CHI 2011 Gamification Workshop
Page 135: CHI 2011 Gamification Workshop
Page 136: CHI 2011 Gamification Workshop
Page 137: CHI 2011 Gamification Workshop
Page 138: CHI 2011 Gamification Workshop
Page 139: CHI 2011 Gamification Workshop
Page 140: CHI 2011 Gamification Workshop
Page 141: CHI 2011 Gamification Workshop
Page 142: CHI 2011 Gamification Workshop
Page 143: CHI 2011 Gamification Workshop
Page 144: CHI 2011 Gamification Workshop
Page 145: CHI 2011 Gamification Workshop

playing in taskvilledesigning a social game for the workplace

{shawn.nikkila, silvan.linn, hari.sundaram, aisling.kelliher}@asu.edu

Page 146: CHI 2011 Gamification Workshop

taskville motivation

In today’s workplace, diverse and distributed teams from around the world are working on complex problems.

Page 147: CHI 2011 Gamification Workshop

taskville motivation

Page 148: CHI 2011 Gamification Workshop

taskville motivation

http://www.google.com/intl/en/jobs/locations/

Page 149: CHI 2011 Gamification Workshop

taskville motivation

http://research.microsoft.com/en‐us/labs/default.aspx

Page 150: CHI 2011 Gamification Workshop

taskville motivation

How can individual workers be more aware of activities in the larger enterprise through gamification?

Page 151: CHI 2011 Gamification Workshop

taskville motivation

https://bugs.launchpad.net/ubuntu

Page 152: CHI 2011 Gamification Workshop

taskville motivation

How can we give feedback to repetitive and mundane tasks in a fun way through gamification?

Page 153: CHI 2011 Gamification Workshop

introducing taskville

Page 154: CHI 2011 Gamification Workshop

user feedback

• What is a task?• Intra-group vs. inter-group competition• Privacy

Page 155: CHI 2011 Gamification Workshop

future directions

• How can we gamify communication between family members over long distances?

• How can we gamify compliance in the medical domain?

Page 156: CHI 2011 Gamification Workshop

MOTOROLA and the Stylized M Logo are trademarks or registered trademarks of Motorola Trademark Holdings, LLC. All other trademarks are the property of their respective owners. © 2011 Motorola Mobility, Inc. All rights reserved.

Applied Research Center

The Gamification of Television Is there life beyond badges?

Nitya Narasimhan Motorola Mobility, Inc.

Gamification Workshop CHI 2011

May 7, 2011

Page 157: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 2 Page

We need new ways to track & engage audiences

3/8/2011 © 2011 Motorola Mobility, Inc

•  Television viewing is now at user’s convenience –  Time (when) –  Place (where) –  Device (how) –  Source (from whom)

•  Increasing Fragmentation –  Of Audience (targeting) –  Of Attention (engaging)

•  Can Gamification Help?

Page 158: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 3 Page

But ‘Engagement’ has many facets

3/8/2011

Synched- Viewing Behaviors

Post-Viewing Behaviors

Pre- Viewing Behaviors

Will the user watch the show?

Degree of interest (live vs. DVR,

alone vs. social)

Is the user watching the show?

Degree of attention (full vs. partial, like vs. bored)

Is the user invested in the show?

Degree of follow-up (search, learn, share,

buy, record)

© 2011 Motorola Mobility, Inc

Page 159: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 4 Page

The state of Gamification NOW: a focus on loyalty

3/8/2011

Synched- Viewing Behaviors

Post-Viewing Behaviors

© 2011 Motorola Mobility, Inc

Rewards for watching the show Rewards for further engagement

Focus on Social Focus on Entertainment

Page 160: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 5 Page

Opportunities for Gamification NEXT

3/8/2011 © 2011 Motorola Mobility, Inc

The Attention Challenge

The Analytics Challenge

The Sustainability

Challenge

Make it EFFORTLESS

Make it MEANINGFUL

Make it LAST

Difficulty

Util

ity

Page 161: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 6 Page

#1: The Attention Challenge in Synched Viewing

3/8/2011 © 2011 Motorola Mobility, Inc

•  Television involves lean-back consumption (passive)

•  Social TV apps create lean-forward interaction (active) –  Add to user effort (context

and activity inputs) –  Take user attention away

from onscreen content

Can gamification make the interactions “fun” without taking viewers’ attention away from content?

Page 162: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 7 Page

#1: Opportunity for “Attention-Preserving” IO Toolkits

3/8/2011 © 2011 Motorola Mobility, Inc

Can gamification make the interactions “fun” without taking viewers’ attention away from content?

http://www.designboom.com/history/numberonefoamhand/07.jpg

Digitize Fun Interactions, Sense Ambient context

Page 163: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 8 Page

#2: The Analytics Challenge: Growth but Sparsity

3/8/2011 © 2011 Motorola Mobility, Inc

•  Social TV apps today focus on presence (check-in), sentiment (like) & comment

•  No incentive (or support) for multiple repeat events –  Coarser granularity (like a

show not a segment) –  Undifferentiated intents

(early vs. late check-in)

Can gamification persuade users to check-in “more” or perform more “diverse” activities (like, dislike) to differentiate intent?

Page 164: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 9 Page

#2: Follow the verbs: Create/Reward more activities

3/8/2011 © 2011 Motorola Mobility, Inc

•  Also impacts rewards and incentives schemes (more earn/burn options)

Can gamification persuade users to check-in “more” or perform more “diverse” activities (like, dislike)

Page 165: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 10 Page

#3: The Sustainability Challenge: Beyond ‘novelty’

3/8/2011 © 2011 Motorola Mobility, Inc

•  Understand individual viewer motivations and evolve ‘game elements’ to support or surprise them

•  The problem: everyone watches television. There is no clear set of ‘player types’ http://www.slideshare.net/amyjokim

/gamification-101-design-the-player-journey

Can gamification platforms evolve to suit different player types? What are the player types for social television?

Page 166: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 11 Page

#3: Games With a Purpose: An MVC Approach

3/8/2011 © 2011 Motorola Mobility, Inc

•  Same model. Different views for different players. –  Games for Analytics –  Games for Search –  Advergames

•  Example: Want to get viewers to “tag” video? –  Drinking game (fun) –  Advisory tags (altruism)

Can gamification platforms evolve to suit different player types? What are the player types for social television?

http://appadvice.com/appnn/2011/02/drinking-game-app-combines-beer-media-viewing

Page 167: CHI 2011 Gamification Workshop

APPLIED RESEARCH CENTER THE GAMIFICATION OF TV – CHI 2011 GAMIFICATION WORKSHOP 12 Page

Summary

3/8/2011 © 2011 Motorola Mobility, Inc

Can gamification make the interactions “fun” without taking viewers’ attention away from content?

Can gamification persuade users to check-in “more” or perform more “diverse” activities (like, dislike) to differentiate intent?

Can gamification platforms evolve to suit different player types? What are the player types for social television?

Page 168: CHI 2011 Gamification Workshop

Leveraging the Engagement of Games to Change Energy Behavior

Byron Reeves Stanford University

[email protected]

H-STAR HUMAN SCIENCES AND TECHNOLOGIES

ADVANCED RESEARCH INSTITUTE

James J. Cummings Stanford University

[email protected]

Dante Anderson Seriosity, Inc.

[email protected]

Page 169: CHI 2011 Gamification Workshop

The Opportunity

  A 10% reduction in energy use will lower the quantity of fossil fuels consumed by an amount roughly equal to a 25-fold increase in wind plus solar power, or a doubling of nuclear power (Sweeney, 2007).

  This opportunity involves behavior change

  The engine of behavior change is information

Page 170: CHI 2011 Gamification Workshop

The problem

  Billions spent gathering information   Smart sensors and infrastructure   Tons of information

  But energy information is dull   Complex UI’s   Problems are distant   Feedback separated from behavior   “What I get” not obvious (even $)

Page 171: CHI 2011 Gamification Workshop

5/6/11 4

Page 172: CHI 2011 Gamification Workshop

The idea

  Use successful ingredients from games:   Self representation; feedback; community connections,

ranks and levels; teams; virtual economies; compelling narrative

  Make a multiplayer game that connects home smart meters with game play   Track energy use   Feedback displays in game   Links to social networks and mobile devices

Page 173: CHI 2011 Gamification Workshop

Background

  New gamer generation   Dominant genre of new media

  New “science of fun”   New research about why games work

  Games work in other serious contexts   Health, business productivity, learning

  Increasing attention to serious games   IBM, State Farm, P&G, Microsoft, military, security,

education, health

+

Page 174: CHI 2011 Gamification Workshop

Guiding concepts

  Mix real and virtual   House and real behavior as joystick for game play

  Build professional games introduced at scale   ARPAe   Seriosity, Inc.

  Fit current game trends   Farmville   Facebook

  Stay true to game sensibilities!   Even though the game goals are serious   Fun, multi-period, rewards, teams, feedback…

Page 175: CHI 2011 Gamification Workshop

8

Page 176: CHI 2011 Gamification Workshop
Page 177: CHI 2011 Gamification Workshop
Page 178: CHI 2011 Gamification Workshop
Page 179: CHI 2011 Gamification Workshop
Page 180: CHI 2011 Gamification Workshop

2  

Page 181: CHI 2011 Gamification Workshop

3  

Page 182: CHI 2011 Gamification Workshop

4  

Page 183: CHI 2011 Gamification Workshop

5  

Page 184: CHI 2011 Gamification Workshop

6  

Page 185: CHI 2011 Gamification Workshop

7  

Page 186: CHI 2011 Gamification Workshop

8  

Page 187: CHI 2011 Gamification Workshop
Page 188: CHI 2011 Gamification Workshop

10  

Page 189: CHI 2011 Gamification Workshop
Page 190: CHI 2011 Gamification Workshop

Site/App  

12  

The  Problem  

Traffic  Op)miza)on  “A1ract”   Content  

Op)miza)on  “Sa)sfy”  

User  Op)miza)on  “Influence”  

Page 191: CHI 2011 Gamification Workshop

13  

Bunchball  gives  business  owners  real-­‐9me  influence  

over  consumer  behavior  through  Gamifica8on.  

Page 192: CHI 2011 Gamification Workshop

Reward   Status   Achievement  Self  

Expression   Compe88on   Altruism  

Points  

Levels  

Challenges  

Virtual  Goods  

Leaderboards  

GiFing  &  Charity  

Gamifica8on  Sa8sfies  Human  Needs  

14  

Page 193: CHI 2011 Gamification Workshop

15  

2  Kinds  of  “Gamifica8on”  

Content  

Game  

Content  

Game  

Page 194: CHI 2011 Gamification Workshop

gamifica8on.com