Values in Design

For over twenty years, Values in Design (VID) has been developed as both a theory and a method. VID research has analyzed a diverse set of technologies including human-computer interaction, robotics, mobile technologies, and web technology, and an equally diverse set of values such as privacy, trust, security, safety, community, freedom from bias, autonomy, freedom of expression, identity, dignity, calmness, compassion, and respect. Perhaps more important, VID means taking values into consideration in design practice — making it equally relevant to academics, technologists, and everyday people.

VID is a way of considering human life that explores how the values we think of as societal may be expressed in technological designs, and how these designs in turn shape our social values. In other words, technology is never neutral: certain design decisions enable or restrict the ways in which material objects may be used, and those decisions feed back into the myths and symbols we think are meaningful.

“About Values in Design.” n.d. Values in Design. http://www.nyu.edu/projects/nissenbaum/vid/about.html.

See Also:

Bowker, Cory Knobel, Geoffrey C. 2011. “Values in Design.” Communications of the ACM, 2011. https://cacm.acm.org/magazines/2011/7/109899-values-in-design/fulltext.
Flanagan, Mary, Daniel C. Howe, and Helen Nussenbaum. 2008. “Embodying Values in Technology: Theory and Practice.” In Information Technology and Moral Philosophy, edited by Jeroen Van den Hoven and John Weckert. Cambridge England ; New York: Cambridge University Press. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.467.8021&rep=rep1&type=pdf#page=335.

 

 

Skins 1.0: A Curriculum for Designing Games with First Nations Youth

Aboriginal Territories in Cyberspace (AbTeC) conducted the Skins workshop to explore a pedagogy that integrated North American Indigenous cultural frameworks into the design of video games and virtual environments. Skins provides instruction in digital design, art, animation, audio and programming within a context of Aboriginal stories and storytelling techniques. In the pilot workshop with Mohawk youth at the Kahnawake Survival School, students developed interactive environments based on traditional stories from their community in a process that required them to reflect on how they knew those stories, who had told them, and which stories were appropriate for such remediation. In the process, AbTeC found that the discussions about these stories in the context of the technical skills development provided substantial motivation for both further inquiry into the stories and greater participation in the skills development. This paper describes the curriculum and strategies of the Skins pilot workshop.

Lameman, Beth Aileen, Jason E. Lewis, and Skawennati Fragnito. 2010. “Skins 1.0: A Curriculum for Designing Games with First Nations Youth.” In Proceedings of the International Academic Conference on the Future of Game Design and Technology, 105–112. Futureplay ’10. New York, NY, USA: ACM. https://doi.org/10.1145/1920778.1920793.

Games as Enduring Presence / Elizabeth LaPensée

Games offer a space for Indigenous artists to reify the connections between tradition and technology since Indigenous games can directly engage players in Indigenous ways of knowing through design and aesthetic. The social impact game Survivance, the musical choose-your-own-adventure text game We Sing for Healing, and the mobile game Invaders exemplify games as self-determined spaces for Indigenous expression. And yet, these examples still merely hint at possibilities of self-determined Indigenous games as access to technology expands and the potential to design systems with Indigenous perspectives from the code up unfolds.

LaPensée, Elizabeth. 2016. “Games as Enduring Presence.” Public 27 (54): 178–86. https://doi.org/10.1386/public.27.54.178_1.