Study Guide 1
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This 6 page Study Guide was uploaded by Kalli Wyatt on Wednesday September 14, 2016. The Study Guide belongs to RECM 415 at Brigham Young University taught by Mathew Duerden in Fall 2016. Since its upload, it has received 147 views. For similar materials see Experience Design in Buisness at Brigham Young University.
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Date Created: 09/14/16
Experience Design Study Guide 1 Part 1. 1. What is the interaction ritual? (see pg. 28-39 of packet) Phase 1, INTAKE: the people are aware of what is occurring. Often this is the only part of the event that actually happens. People are like “oh involovpalooza is happening in brigham square… cool.” Very passive Very fleeting Phase 2, THINKING PROCESSING & PLANNING: Planning a course of action i.e. “oh involovpalooza is happening in brigham square… cool! I think I want to go join the scooter club” engaged in the activity not involved in directing or sustaining the activity Phase 3, ACTION: You respond based on your interpretation of the event, which leads to you helping the experience continue Maximum engagement Highest probability of providing a memorable experience It can’t be just based on novelty i.e. the adobe road bike meetings. People liked those a lot more than stuffy dinners. 2. THINKING, PROCESSING, & PLANNING 3. ACTION 1. INTAKE 2. What are the 6 elements of a situated activity system? (starts on pg. 41 of packet) Interacting people we need to be aware of who our audience is going to be. The design must be for them specifically. Physical, social, and psychological development Gender Age Skill level Programs change based on who attends i.e. youth camps change week to week based on the kids that are there. if you change one element of the experience (ie the audience) the enter program is changed. We need to know what individuals are seeking from participating Physical setting the following will affect the design if it is inadvertently omitted or unconsciously included visual sound olfactory (smell if you were wondering what that obnoxious word) tactile taste if the setting changes the program itself will change must understand the uniqueness of a setting you must understand the limits of the setting settings can be manipulated with decorations, lighting, and other physical alterations Leisure objects Physical Social Symbolic It’s important to know which ones are essential, optional, and which ones are distracting Structure Rules Program formats You need to make sure that there are enough rules to direct interactions, but that it’s not stifling Relationships Relationships make a difference on the program. Think family drama people If they don’t have a relationship and they need one for the program you have to figure out how to make that happen. FHE at EFY… meant to help you get to know your company Animation How do you start the activity and keep it going You need spontaneous and natural movement You can do this in many ways Leaders Tickets Signs 3. What is the service continuum? (pg. 52 of the packet) The amount of service that a programmer provides to the participants Lots—think Disney land. Pay your money and have fun None—think family camping trips... maybe it would be better if you had a programmer for these… just sayin’ Middle ground—that’s where we’re at! 2 issues affect if you will be a facilitator or a direct provider cost – direct provider is more expensive does the participant need to play a role in the activity a completely guided trip vs. a trip you plan but is outfitted by a company. Individual provision Self directedbs and rpenshouse drop-inagueSpecial eventsnts Skill development Agency provision 4. What are the elements & propositions of the structured experience model? (see pg. 608 of duerden. Ward, and Freeman article) Anticipated consumption: searching, planning, daydreaming, budgeting, and fantasizing about future purchases Purchase experience: choice and payment of purchase, bundling product, service encounter, and atmospherics Consumption experiences: sensory experiences, satiation (to satisfy), dissatisfaction, arousal or flow, and transformation. Remembered consumption: reliving past experiences, often in nostalgic ways, by telling stories, comparing old and new times, talking with old friends, playing “what if”, daydreaming, and looking and souvenirs Part 2 st 5. What is the creativity myth? (1 page of introduction to creative confidence) The misconception that you are either creative or you are not 6. What is creative confidence? (2 ndpage of introduction to creative confidence) The opposite of the creativity myth. We are ALL creative It can be strengthened and nurtured through effort and experience 7. What is the definition of design thinking? (chapter 1 of creative confidence) The heart of human centered design The d.school process for creativity and innovation Inspiration—proactively seek experiences that will spark creative thinking Synthesis—recognize patterns and identify themes Ideation and experimentation—generate ideas, explore lots of ideas with out becoming too invested in one. Craft models, act it out. Implementation—refine the idea, test it out in the market place 8. What are the 3 factors to consider when innovating? (chapter 1 of creative confidence) People (desirable) Human needs and desires Get at people’s motivations and core beliefs May offer the best opportunities for innovation Business (viable) Economic viability Need to be produced and distributed in an economic and viable way Technical (feasible) new technology 9. How does one overcome fear? (chapter 2 of creative confidence) The process of guided mastery draws on the power of firsthand experience to remove false beliefs Small wins lead to getting over fears Recognizing that failure is part of innovation and leads you to success 10. How do you cultivate creativity? (chapter 2 of creative confidence) Resist judging yourself Learn to draw using basic shapes Let go of comparisons Accept failures 11. Why is failure important? (chapter 2 of creative confidence) It allows to see what went wrong and not repeat it As you own your mistakes you enhance your brand It leads to more creativity failure breeds innovation
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