The probe, as a methodology, fits into the realm of critical design that aims to ask questions as opposed to providing answers. The probe offers insight and inspiration that could then lead a designer to a more participatory approach that includes generative tools that have been ethnographically informed. By inviting the underserved to participate in a probe activity, there is an opportunity for “shaking the preconceptions” that are often associated with designing for the developing world.
Cultural probes (as originally introduced by William Gaver of Goldsmiths College) present a viable way to interact with a group of individuals who do not share the same language or demographic in order to gauge perceptions. A probe can include all forms of creative activities — from a single-use camera to a journal or collage. The idea behind the activity is to address the felt needs of an individual or group when language may not be available. Since I am seeking to investigate tacit knowledge, or “the knowledge that people can act upon, but cannot readily express in words,” the probe becomes a less clinical approach to help embrace the ambiguities of this knowledge:
[They] were part of a strategy of pursuing experimental design in a responsive way. They address a common dilemma in developing projects for unfamiliar groups. Understanding the local cultures was necessary so that our designs wouldn’t seem irrelevant or arrogant, but we didn’t want the groups to constrain our designs unduly by focusing on needs or desires they already understood. We wanted to lead a discussion with the groups toward unexpected ideas, but we didn’t want to dominate it.
Gaver’s use of the probe was intended to offer design inspiration. Alternatively, empathy probes focus on “using the probes kit to allow the participants [to] collect data about their physical and social context, lifestyle, attitudes, and experiences.” In this case, the outcome creates a means for dialogue between a designer and the participants before design inspiration is addressed. In light of these two views of the probe, I chose to adapt them in my process by exploring their benefits for gaining empathy while also allowing for the possibility of design inspiration to emerge.
Cultural probes (as originally introduced by William Gaver of Goldsmiths College) present a viable way to interact with a group of individuals who do not share the same language or demographic in order to gauge perceptions. A probe can include all forms of creative activities — from a single-use camera to a journal or collage. The idea behind the activity is to address the felt needs of an individual or group when language may not be available. Since I am seeking to investigate tacit knowledge, or “the knowledge that people can act upon, but cannot readily express in words,” the probe becomes a less clinical approach to help embrace the ambiguities of this knowledge:
[They] were part of a strategy of pursuing experimental design in a responsive way. They address a common dilemma in developing projects for unfamiliar groups. Understanding the local cultures was necessary so that our designs wouldn’t seem irrelevant or arrogant, but we didn’t want the groups to constrain our designs unduly by focusing on needs or desires they already understood. We wanted to lead a discussion with the groups toward unexpected ideas, but we didn’t want to dominate it.
Gaver’s use of the probe was intended to offer design inspiration. Alternatively, empathy probes focus on “using the probes kit to allow the participants [to] collect data about their physical and social context, lifestyle, attitudes, and experiences.” In this case, the outcome creates a means for dialogue between a designer and the participants before design inspiration is addressed. In light of these two views of the probe, I chose to adapt them in my process by exploring their benefits for gaining empathy while also allowing for the possibility of design inspiration to emerge.