Example Workshop

We provide an example workshop that can serve as a starting point for the design of future workshops. We have used this sequence of workshop methods in three of our projects [P2, P4, P5]. The methods work in concert, encouraging participants to explore a wide space of visualization opportunities and then to elaborate the more promising ideas.


Here, we present the materials that we used in a workshop with neuroscientists [P4]. We followed this schedule (pdf) while using a slide deck (pdf) to introduce each method. We also provided handouts for specific methods, such as this list of examples (pdf) for visualization analogies.


This is meant to be a starting point for thinking about workshop design. Of course, the methods will need to be tailored for future workshops. And, we strongly encourage the workshop methods and prompts be tested numerous times before execution. We also recommend having alternative methods prepared so that facilitators can adapt the workshop based on participant reactions.

opening, interpersonal, passive
5 - 15 min
Establishing guidelines for a creative atmosphere can help to set the tone for the workshop.

Description

To lay a foundation for a creative atmosphere, we introduce guidelines for the workshop. These guidelines can reinforce the need for collegiality and trust in a successful workshop. Example guidelines include:

  • All ideas are valid — record them!
  • Speak in headlines and follow up with details
  • Beware that facilitators may guide the conversation to stay on topic
  • Switch off all electronic devices

Although this method is primarily passive, consider ways to encourage agency and interest. For example, it could be modified by having participants create their own guidelines for creative participation.

Materials

  • list of guidelines on slides or handouts

References

  • A. Osborn. Applied imagination: principles and procedures of creative problem solving. Charle Scribener’s Sons, New York, USA, 1953.
  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.
opening, interpersonal, active
5 - 15min
Playful introductions-by-analogy to prime for creative thinking and to support interpersonal leveling.

Description

In this method, we introduce workshop participants and facilitators through analogy. For example, we all respond to the prompt: “if you were to describe yourself as an animal, what would you be?” We have used other analogies, such as superheroes (to increase a feeling of agency) and plants (when plants were relevant to the topic).


This method encourages self-expression and demonstrates vulnerability — both of which can help to establish trust, agency, and collegiality. It also primes participants to think in analogies, which is a key part of creative thinking. We have typically paired this method with another introduction to more explicitly establish the topic, such as Creativity Guidelines.


We have used this method in a number of our workshops [P2,P4 - P8]. Participants may see this method as high challenge because the analogy can seem silly. In our experience, leading the method by example can help to reduce the challenge and build trust with participants.

References

  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.
core, divergent, active
1 hour
Identifying aspirations for visual analysis can jump-start the workshop.

Description

We have used this divergent, active method early in the workshop core. It is based on creativity methods to generate aspirations that we tailored to visualization by prompting participants with a domain scenario and asking the questions: ``What would you like to know? What would you like to do? What would you like to see?’‘


In the process of this method, we first introduce the prompt, and participants answer the know/see/do questions individually on post-it notes. Next, participants share ideas in a large group to encourage collegiality and cross-pollination of ideas. Then, participants form small groups and try to build on their responses by selecting interesting ideas, assuming that they have been completed, and responding to the know/see/do questions again — increasing the challenge. Finally, we lead a convergent discussion to highlight interesting ideas and to transition to the next method.


We encourage participants to record answers to the know/see/do questions on different color post-it notes because each prompt provides information useful at different points in the design process. Participants describe analysis tasks that they would like to do or envisaged insights they would like to know. Asking what participants would like to see is often more of a challenge, but ensures that a topic of visualization is established early.

Materials

  • written prompt with know/see/do questions
  • three colors of post-it notes for responses to each questions

References

  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.
  • M. J. Hicks. Problem Solving and Decision Making: Hard, Soft, and Creative Approaches. Thomson Learning, London, UK, 2004
core, divergent, active
1 hour
Reframing barriers as opportunities to spur creative thinking.

Description

This method reframes barriers as opportunities to spur creative thinking. First, participants identify barriers of the envisioned visualization tools. Next, they select the most pressing barriers and imagine that it has been removed. Then, they create ideas about what would be possible without that barrier in the way.

We have used this method in four of our workshops [P2, P4, P5, P8]. In our experience, identifying barriers is low challenge and helps to build interest because participants typically have ideas about why problems in their domain are hard. The barriers also provide useful information about the problem space to researchers. Asking participants to remove barriers increases the challenge. Because this method is performed in small groups, it can foster collegiality.

If this method is preceded by Wishful Thinking, then the know/see/do prompts can be used after barriers are removed.

Materials

  • at least 2 colors of post-it notes to record the barriers and opportunities
  • if preceded by Wishful Thinking, then 1 color post-it notes for barriers + 3 colors for know/see/do prompts

References

  • S. Jones, P. Lynch, N. Maiden, and S. Lindstaedt. Use and influence of creative ideas and requirements for a work-integrated learning system. In IEEE International Requirements Engineering Conference, RE’08, 2008.

  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.

core, divergent, passive
1 hour
Participants create connections between artifacts in the real world and ideas in the workshop (usually during a lunch break).

Description

This method is typically combined with a break for lunch. In this method, we ask participants to find a physical artifact from outside of the workshop that relates to the topic. Upon returning to the workshop, we describe and discuss the artifacts and ideas in a group.


The motivation for this method is as described by Goodwin et al. “The idea is that participants remove themselves from a task, take a mental or physical journey to seek images or stimuli and then bring these back to make connections with the task.” Discussions about the resulting artifacts can expand the ideaspace in surprising ways.

References

  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.
core, divergent, passive
1 hour
A curated presentation of visualizations inspires requirements-by-example.

Description

We present a curated collection of visualizations and ask participants to individually record analogies to their domain and to specify aspects of the visualizations that they like or dislike.


More specifically, first, we provide participants with paper handouts that contain a representative image of each visualization. Next, we present the curated visualizations on a projector and ask participants to think independently about how each visualization could apply to their domain and to record their ideas. Then, we discuss these visualizations and analogies in a large group.


The initial exercise gives participants time and space to act individually. Subsequent group discussions on these visualizations prompts additional collegiality, particularly if structured to ensure that all participate. Enabling participants to evaluate visualization possibilities and relate them to their problem domain is intended to engender agency. While problem specific data are unlikely to be used, the combination of domain problem and visualization solution makes visualization analogies an activity that addresses the topics of the workshop directly.


Although this method is primarily passive, participants report that it is engaging and inspiring to see the broad possibilities of visualization and relate visualization solutions to their problems.

Materials

  • vis. presentation
  • handouts with vis. images

References

  • S. Goodwin, J. Dykes, S. Jones, I. Dillingham, G. Dove, D. Allison, A. Kachkaev, A. Slingsby, and J. Wood. Creative user-centered design for energy analysts and modelers. IEEE Transactions on Visualization and Computer Graphics, 19(12), 2013.
core, convergent, active
1 hour
Creating a graphical story can synthesize and summarize ideas from the workshop.

Description

This convergent method provides information for researchers about which ideas the participants consider more important or potentially useful. At first, we task participants with drawing a story that synthesizes ideas from the day into a coherent narrative. Next, the storyboards are discussed and additional ideas are recorded.

However, we have some evidence that the activity is polarizing. The challenge involved in creating a story is likely to be very being personal and so efforts to ensure that all participants are either comfortable with and engaged in the challenge or excused and participating in alternative activity are important. Hence, this method could be used in tandem with other convergent, active methods, such as mind-mapping or brainstorming.

Materials
  • blank storyboards
  • color pens
  • scissors / glue for collage of vis examples if running after vis analogies method
References
  • K. Truong, G. Hayes, G. Abowd. Storyboarding: an empirical determination of best practices and effective guidelines. Proc. ACM DIS, 2006.
  • V. Kumar. 101 design methods: a structured approach to driving innovation in your organization. Wiley, 2012.
closing, convergent, active
15 - 30 min
Reflecting on the day can provide clues about interesting or important ideas.

Description

This method is a semi-structured discussion to gain some initial feedback on how well the workshop went and the feelings of the group for the ideas produced during the day.

We have used prompt questions to encourage discussion such as “What has surprised you most today?”, “What do you know now that you did not know this morning?” or “What will you do differently tomorrow?”

closing, interpersonal, passive
5 - 10 min
Communicating the next steps can validate participants time and energy.