Co-Design as Learning: The Differences of Learning When Involving Older People in Digitalization in Four Countries

Abstract

Involving older people through co-design has become increasingly attractive as an approach to develop technologies for them. However, less attention has been paid to the internal dynamics and localized socio-material arrangements that enact this method in practice. In this paper, we show how the outcomes that can be achieved with user involvement often pertain to learning, but their content can differ significantly based on how the approach is implemented in practice. Combining explorative, qualitative findings from co-design conducted in four countries (Canada, the Netherlands, Spain, and Sweden), we illustrate how different types of learning occurred as design workshops engaged the experiences and skills of older people in different ways. Our findings make visible how learning can be a core outcome of co-design activities with older adults, while raising awareness of the role of the power relations and socio-material arrangements that structure these design practices in particular ways. To benefit from the full wealth of insights that can be learned by involving older people, deeper knowledge is needed of the implicit features of design, the materials, meanings, and power aspects involved.

Use and perception of gerontechnology: differences in a group of Spanish older adults

“…Technological developments can help to improve the quality of life of older adults, but although the results of ongoing research are presented here, more data and results are needed to allow for an integral examination of the “technological senior.” To increase acceptance of these technologies, it is important and necessary for older adults to take in part in their design to show designers other purposes that were not planned (Fischer et al , 2021; Wanka and Gallistl, 2021; Naor et al , 2021). One resource that may allow for achievement of this objective is senior living labs, initiatives that are yielding highly positive results (Martín-García et al , 2021a).…”

Gaining resolution when creating imagery of aging

“…In contending with this issue, Fischer et al ( 2021b ) have indicated how different “configurations of participation”, as a result of specific participatory methods, can yield very different images and outcomes. As Fischer et al ( 2021a ) explore in a separate article, this form of participatory design focuses on knowledge transfer between designers and users. This “mutual learning” takes place when conducted with older adults that can “lead to competent participants, close to ‘expert’ users” (Fischer et al, 2021a , p. 2).…”

“…As Fischer et al ( 2021a ) explore in a separate article, this form of participatory design focuses on knowledge transfer between designers and users. This “mutual learning” takes place when conducted with older adults that can “lead to competent participants, close to ‘expert’ users” (Fischer et al, 2021a , p. 2). Two configurations that enable this learning and have remained prominent and relevant to designers are those of codesign and probes, as “field” focused approaches which have been used to provide a voice and draw on the lived experience of older persons in differing ways.…”

“…This research engages with a broader, ongoing discourse around participatory design practices, which emphasizes the configuration of participation, seeking heightened transparency about biases and the roles of designers (Fischer et al, 2021b ). Fischer et al ( 2021a ) consider how participation is a central concern when the design process is seen as a collaborative effort, with participatory design's attention to empowering people “by bringing designers together with other stakeholders” (p. 1). By contextualizing this discussion through aging and technology, they questioned what a “good” configuration of participation is in practice, seeing such “better” forms are part of a continuous iterative process, requiring reflectivity in the work designers.…”

“…While we see how such accurate imagery can provide insights into the unique worlds of real people living with Dementia (Harvey and Brookes, 2019 ), we can also see how “alternative” forms, such as Richards et al ( 2012 ) document in “nostalgic/melancholic or humorously carnivalesque (p. 65)” photography can lead to improvement in self-image and older adults' attitudes (Bai, 2014 ). In building upon Fischer et al ( 2021a ) call to support good participation, while also addressing the imagery designers draw on and produce, this article explores methods of participation in image production toward the question of “ what characterizes ‘better’ images of aging created by designers? ”.…”