PDC+++ Module 2 Class 6 Observation
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Observation is fundamental to any design & goes far beyond looking at something carefully. We involve all of our communication channels in a systemic & sistematic way, in good prolonged observation. In this class we study in depth the clients interview & other observation techniques & tools.
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PDC+++ Module 2 Class 6 Observation
- 1. Class 2.6 of the PDC+++ What does observing consist of? & Why are we so bad at it? Observation is fundamental to any design & goes far beyond looking at something carefully. We involve all of our communication channels in a systemic & sistematic way, in good prolonged observation. In this class we study in depth the clients interview & other observation techniques & tools.
- 2. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 3. 1 Design = many cycles of Design Why Thinking/ Reflection Act Observe Design
- 4. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 5. Plato "Real philosophers are those who love contemplating truth" Aristotle "Civilization is the victory of persuasion over force" 384 a.C 428 a.C The First Academy 388 a.C Academus - Dedicated to investigating & deepening knowledge Socrates 470 a.C
- 6. 6 Allegory Plato's Cavern
- 7. 6 Plato's Cavern Allegory the material / sensual world (known through the senses ) & the world of ideas (which can only be known by the use of reason )
- 8. Plato's Cavern 6 Allegory the material / sensual world (known through the senses ) & the world of ideas (which can only be known by the use of reason )
- 9. GENERAL & PARTICULAR: The ethics (not only a vision, they are also criteria) Sustainability (PermaCulture) The Directives The Principles (attitude, ecological, of design) Interview of all Clients OBSERVATION (surroundings, time, budget ..) Your personal criteria very clear CRITERIA
- 10. 90% of mistakes are caused by errors of OBSERVATION .. & 60% of our incoming information is visual OBSERVATION
- 12. A young woman or an old woman?
- 13. A female face or a musician with a trombone?
- 14. An Eskimo or the head of an Indian?
- 15. Where is the kissing couple?
- 16. Are the red circles the same size?
- 17. Are the gray lines horizontal & parallel?
- 18. Are AB & BC equal?
- 19. There seem to be gray dots that in reality do not exist
- 20. Are the two shapes the same height?
- 21. Do you see the window from below or above?
- 22. Move forward & back looking at the central dot
- 23. A cube with strange sides
- 24. Two columns or three columns?
- 25. Spiral or independent circles?
- 26. Focuse on the central dot & the fog will start to disappear
- 27. How many paws on the Elephant?
- 29. 90% of errors are caused by errors of observation .. And 60% of our incoming information is visual
- 30. 90% of errors are caused by errors of observation NASA Investigation Verifiable in your daily life? Or interpretation of what we observe
- 31. This model says that 90% occupied by patterns (= "rigid programs" or our 'movies') DIRECTIVE 1 OF PC: Take full responsibility for our lives ¿coincidence?
- 32. "The look the human being has, in principle, the characteristics of predators. Only see ahead. His area of blindness is very large. Learn to see as hares and to hear the sound of colors. That is the most exciting metamorphosis " Manuel Rivas
- 33. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 34. 1 Diseño = muchos ciclos de Diseño Cicle 1: Auto-observación Thinking/ Reflection Act Observe Design
- 35. ! Try it with more people in a short time and using rich colors! It helps us to "self-observe" and raise the awareness of our patterns, motivations and unconscious processes And to make "room" in our mind for the next phase of the observation First make your "Free Design" / instinctive / "crazy" / wild
- 38. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 39. 1 Design = many design cycles Observation: external parts Thinking/ Reflection Act Observe Design
- 40. First do your "Wild Design"
- 41. First do your "Wild Design"
- 42. First do your "Wild Design"
- 43. First do your "Wild Design"
- 45. & only after lots of time to think, try things, cuestion everything ... design the DESIGN! (HOW is the best way to design in THIS situation?? First do your "Wild Design"
- 47. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 48. 1 Design = lots of design cycles Observation: internal collective Thinking/ Reflection Act Observe Design
- 52. The Ladder of Participation 1. Manipulation 2. Therapy 3. Informar 4. Consultar 5. Placation 6. Partnership 7. Delegated Power 8. Citizen Control MUST learn to listen well ... with open, questions, nonjudgmental, supportive attitude and acceptance, TIME, ETC. Non participative. The aim is to cure or educate the participants that the proposed plan, without any input, is best. This is about public relations. A necessary first step to legitimate participation, but too often the emphasis is on a one way flow of information with no feedback A legitimate step - attitude surveys, neighbourhood meetings and public enquiries, but is this just window dressing? Loading committees with handpicked worthies. A talking shop giving power holders a veto over advice and decisions Power is redistributed through negotiation between citizens and power holders. Planning and decision-making responsibilities are shared e.g. through joint committees Citizens holding a clear majority of seats on committees, with delegated powers to make decisions. Public now has the power to assure program accountability to them Have-nots handle the entire job of planning, policymaking and managing a program with their own source of funds "eg. me with my great idea: "I have a design"..
- 54. Class2.6 PDC+++ What does observing consist of? & Why are we so bad at it? Plato's Cave Wild Design More Observation Techniques Client Interview The Quadrants
- 55. 1 Design = lots of design cycles Observation of the Whole Thinking/ Reflection Act Observe Design
- 56. Individual Interior Exterior Individual Interior Collective Exterior Collective Vision Mission Motivations Systems Wild Design
- 57. Class 2.6 of the PDC+++ What does observing consist of? & Why are we so bad at it? Observation is fundamental to any design & goes far beyond looking at something carefully. We involve all of our communication channels in a systemic & sistematic way, in good prolonged observation. In this class we study in depth the clients interview & other observation techniques & tools.
Notas do Editor
- 6. ¿En que consiste observar? La observación es fundamental en cualquier diseño y va mucho más alla que pararse detenidamente a mirar algo. Implicamos en la observación todos nuestros canales de comunicación de forma sistemática. En esta clase estudiaremos a fondo las entrevistas al "cliente" y otras técnicas y herramientas para la observación.
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- Socrates and his successors, Plato and Aristotle, taught that virtue is knowledge; goodness, health of the soul; that it is better to suffer injustice than to be guilty of it, that it is wrong to return evil for evil, and that the gods are wise and good. Their cardinal virtues were: wisdom, courage, temperance, and justice. Su división de las ciencias en teóricas, prácticas y poéticas, y sus esquemas lógicos, se han mantenido durante muchos siglos. La escuela de Atenas . En la imagen, detalle de La Escuela de Atenas (1510-1511), uno de los más famosos frescos que Rafael pintó para decorar las estancias del Vaticano. Presiden el inmenso fresco Platón y Aristóteles, dialogando y sosteniendo cada uno de ellos una de sus obras (El Timeo y la Ética ); en el conjunto del fresco están representados otros filósofos y eruditos griegos. El gesto de Platón, señalando hacia el cielo (el idealismo platónico) parece ser contradicho por el de Aristóteles. Es, naturalmente, una recreación fantasiosa de lo que pudo haber sido la Academia de Platón.
- In Plato’s Allegory of the Cave, the mass of people are conceived of as cave dwellers shackled by unreason, condemned to watching a parade of shadows on the wall and confusing it for reality. An individual who breaks free of his shackles and escapes the cave is at first blinded by the sun of reality, but then sees the light. But a lot of people see the light, in a lot of different ways not necessarily to be trusted. Plato’s was reason, but he was an idealist, and ideas can be a little like balloons. Aristotle chose to be more empirical, to take those ideas and tie them to a stake in the ground, or as the poet William Carlos Williams wrote more than two thousand years later, “No ideas but in things.”
- The Allegory of the Cave – also known as the Analogy of the Cave , Plato's Cave , or the Parable of the Cave – is an allegory used by the Greek ph iloso pher P lato in his work The Re publi c to illustrate "o ur nature in its education and want of education " (514a). It is written as a fic tional di alogue between Plato's teacher Socrates and Plato's brother Glaucon at the beginn ing of B ook VII (chapter IX in Robin Waterfi eld 's translation) (514a–520a). The Allegory of the Cave is presente d after the metaphor of the sun (507b–509c) and the analogy of the divided line (509d–513e). Allegories are summ arized in the viewpoint of dialectic at the end of Book VII and VII I (531d-534e).
- In the dialogue, Socrates describes a group of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall by things passing in front of a fire behind them, and begin to ascribe forms to these shadows. According to Socrates, the shadows are as close as the prisoners get to viewing reality. He then explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall do not make up reality at all, as he can perceive the true form of reality rather than the mere shadows seen by the prisoners. The Allegory is related to Plato's Theory of Forms , according to which the "Forms" (or " Ideas "), and no t the material world of change known to us through sensation, possess the highest and most fundamental kind of reality. Only knowledge of the Forms constitutes real knowledge. [1] In addition, the Allegory of the Cave is an attempt to explain the philosopher's place in society: to attempt to enlighten the "prisoners".
- we cannot solve our problems with the same kind of thinking that created them
- Comprobable en tu vida diaria? Las telenovelas (como las obras de Shakespeare también) se basan sobre los dramas causados por errores de percepción > o interpretación (otro nivel de percepción)
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- "Los Clientes" son todas las personas y otras criaturas que serán afectadas por tu diseño, a corto y a largo plazo. Pedir las opiniones y datos acerca de los clientes del diseño nos asegura que los que quieren sean (y se sientan) implicados bien desde el principio, además de aportarte mucha información importante que fácilmente se puede perder si sólo te refieres a tus propias percepciones. Participando en la elaboración de las ideas, diseño y planificación, es mucho más probable que vayas a conseguir un sistema auto-regulado al final (uno de los indicadores de un sistema sostenible: no tendrás que vigilarlo o mantenerlo tú para siempre). Por ejemplo, es bastante común que personas que quieren diseñar sus fincas o huertos 'se olviden' de pedir las opiniones, sugerencias y sentimientos acerca de sus ideas a sus niñ@s, espos@s, vecin@s, etc. O de no tomarlas bien en cuenta a la hora de seguir con su diseño. Esto puede resultar en eventuales boicoteos o dificultades por acciones (o falta de apoyo) por parte de estas personas - que pueden (re)sentir que no les has tomado en cuenta. De hecho es quizás una de las razones más frecuentes para dificultades de ejecución de diseños que (en el papel) parecen perfectos.
- Tienes que adaptar tu entrevista al cliente a las distintas situaciones (o sea, diseña la Entrevista al Cliente también): Por ej. no entrevistarás a niños de la misma forma que lo harías con adultos que conoces muy bien o con extraños / personas en posiciones oficiales, etc. Pero en general tendrás en cuenta esta lista de cosas (esto es sólo un recordatorio, añade las tuyas particulares para el sitio o proyecto): Personal – edades, familia, lazos, niños, ancianos, perfiles... Comunidad – contactos, amigos, organizaciones, redes, familias, mafias, sistemas de trueque / ayuda mutua existentes Estilo de vida – cultura, alimentación, salud, ocio, religión... Futuro – sueños, metas, planes, ilusiones... Capacidades – habilidad, conocimiento, artesanía, profesión, quién sabe qué...
- Hacer una buena entrevista al cliente es una expresión de Cuidar a las Personas. Y aunque no les 'entrevistarás' de forma ni siquiera informal... Cuidar a la Tierra también signífica tomar muy en cuenta que las plantas y los animales del sitio también son tus 'clientes' (estarán muy afectados por tus acciones y diseños). Puedes observarlos para ver sus preferencias, y por supuesto estudiar sus necesidades y cuidados ya bien documentados en la literatura apropiada / aprendizaje por personas con experiencia, etc. Por ej. puedes fácilmente observar dónde prefieren dormir las gallinas, dónde se echan los perros a descansar, las 'líneas de deseo' (recorridos en la hierba) de las ratas o conejos en el paisaje, en qué lugares se encuentran las abejas silvestres...
- OJO que tenemos todos los patrones de control que también 1 MANIPULATION and 2 THERAPY Non participative. The aim is to cure or educate the participants that the proposed plan, without any input, is best. This is about public relations. 3 INFORMING A necessary first step to legitimate participation, but too often the emphasis is on a one way flow of information with no feedback 4 CONSULTATION A legitimate step - attitude surveys, neighbourhood meetings and public enquiries, but is this just window dressing? 5 PLACATION Loading committees with handpicked worthies. A talking shop giving power holders a veto over advice and decisions 6 PARTNERSHIP Power is redistributed through negotiation between citizens and power holders. Planning and decision-making responsibilities are shared e.g. through joint committees 7 DELEGATED POWER Citizens holding a clear majority of seats on committees, with delegated powers to make decisions. Public now has the power to assure program accountability to them 8 CITIZEN CONTROL Have-nots handle the entire job of planning, policymaking and managing a program with their own source of funds
- RecursosLa Cosecha de un Sistema >> coje de HolmgrenPequeña y GranEscala >> mira en Manual Stocks
- 6. ¿En que consiste observar? La observación es fundamental en cualquier diseño y va mucho más alla que pararse detenidamente a mirar algo. Implicamos en la observación todos nuestros canales de comunicación de forma sistemática. En esta clase estudiaremos a fondo las entrevistas al "cliente" y otras técnicas y herramientas para la observación.