"One central idea missing from the decision cycle model is the notion that goals are often not fully formed in an agent's mind. As anyone who has ever tried to write an essay knows, we do not always act by moving through a decision sequence where we have a clear idea of our goal. Often we explore the world in order to discover our goals. We use the possibilities and resources of our environment to help shape our thoughts and goals, to see what is possible, and we have no clear idea of what we want to do any more than we always have a clear idea of what we are going to write before we begin the process of writing. This is a different orientation than the classical Cartesian view that we know things internally and just communicate fully intact thoughts in external vehicles. In this more dynamic interactionist view, the action of externally formulating thoughts is integral to internally formulating them too. We do not have a clear and distinct idea in mentalese awaiting expression in English or French. The very action of putting 'thoughts' in words helps to formulate them. If this is generally true about many of our actions it means that the goal of an interactive interface is not merely to allow users to do what they want to do, it must also allow them to discover what they want to do. ...
The overhaul I propose to the decision cycle model begins by noting that the way we cope with badly formulated goals and plans is by relying on two facts: we tend to operate in the same workplace over time, and we are usually clever enough to figure out on-line what we must do next. If one observes most creative activity it is apparent that there are both planful and improvisational elements to it. Creative activity is improvisational because agents are opportunistic -- they pursue ideas and possibilities as they emerge regardless of whether those ideas or possibilities have been anticipated. Creative activity is planful because the skilled agent tries to prepare the environment so that he or she has the greatest chance of stumbling on excellent ideas and possibilities. Thus, although an agent may not know, in advance, what he will create, he knows that by doing certain actions, or by arranging the environment in a certain way, or by laying out certain tools, he is doing the best he can to put himself in a position to recognize unimagined possibilities. This setting up the environment to facilitate on-line choice and improvisation I call preparation. It is a key component of skilled activity. There are others. To accommodate them in a decision model requires adding new forms of action, and new forms of interactivity throughout the decision cycle."
(David Kirsh, 1997)
Date: 29 May 2013 – 30 May 2013
Location/venue: Thistle Brighton, King's Road, Brighton, England, BN1 2GS
The Higher Education Academy's second annual learning and teaching Arts and Humanities conference, 'Storyville: Exploring narratives of learning and teaching' will take place on 29–30 May 2013 in Brighton.
"At the heart of the Arts and Humanities disciplines sit stories–stories which create and recreate worlds, distant and present, stories which inspire and engage, stories which grow imaginations and expand what is thinkable.
Stories are everywhere, and our second annual conference seeks to explore the intersections between narrative and learning and teaching..."
(Higher Education Academy, UK)
"Reflection–in–action proceeds by a construction cycle of framing, naming, moving and reflecting. Framing and naming concern the problem–setting in that the designer constructs a problem out of a situation by naming the things to which she will pay attention whilst at the same time framing the way that the problem is viewed (Schön 1991). Framing in this sense imposes an order onto the problem; moves are made towards a solution in relation to how the situation is framed. However, the situation 'talks back'; surprise at the outcomes of moves leads to reflecting. Reflecting on outcomes may trigger either further moves or a new framing (Schön 1996). Reflection–inaction is not an interruption to fluid action; it is always embedded within action."
(Simone Stumpf and Janet McDonnell, CiteSeerX)
1). Simone Stumpf and Janet McDonnell, "Individual Learning Styles and Perceptions of Experiential Learning in Design Teams"
"For those companies willing to make the cultural commitment to the instantaneous praise and bashing served up 140 characters at a time on Twitter, the rewards can be considerable.
Jeffrey Hayzlett, Kodak's chief marketing officer, said that he learned firsthand after the company originally debuted its Zi8 waterproof, pocket–sized HD video camera earlier this year. ...
Most companies would either ignore the panning or, perhaps, send the product back to the sales and marketing gurus to come up with a better name.
Kodak didn't. Instead, this summer it took the naming process to the people via Twitter, asking the great unwashed masses on the microblogging site to see if they could come up with something better. The winner, or winners as it turns out, were promised a free trip to Vegas for this year's CES and will have their likeness displayed in some way on the product's packaging.
From the thousands of tweets received from the crowdsourcing experiment, Kodak combined two fairly mundane suggestions –– 'Play' and 'Sport' –– to derive the new moniker 'PlaySport.' It's not rocket science but, according to Hayzlett, it's a damn sight better than Zi8."
(Larry Barrett, 7 January 2010)
"Students in the Multimedia degree programme at Nottingham Trent University (NTU) are requested to keep online journals in the form of weblogs. They do so to document their evolving design practice and experimentation....
By maintaining the journals NTU Multimedia students engage in a naming process where they rehearse their creative identities into practice. Through doing so they script their individual narratives as they contribute to a shared discourse about the nature of their field. Through assimilating and reflecting upon new knowledge in this way, the students are able to participate in localised Communities of Practice that act as vehicles for naming, sharing and critiquing common practices. In doing so they become located within a broader network of symbolic exchange readied for forging new opportunities for collaboration and prepared for establishing individualised practices within a broader network of global interconnections."
(Julius Ayodeji and Simon Perkins, 2009)
 Dávid Jablonovský, Tom Nightingale and Kameljit Banwait
 Ayodeji, J. and S. Perkins (2009). Rehearsal as a Naming Process Central to the Development of Creative Identities. Designs on e–Learning International Online Conference. London, UK, University of the Arts London.