“…Designers often use reflective and methodological practices to channel the generative practice of making the familiar strange (Meron, 2019). For example, making strange has been re-envisaged by critical design, using ludic objects such as cultural probes (Gaver, Dunne, Pacentini, 1999;Gaver, Boucher et al, 2004;Bell, Blythe, Sengers, 2005;Sengers, Boehner, David, VIDEO JOURNAL OF EDUCATION AND PEDAGOGY (2019) 1-22 Kaye, 2005;Celikoglu, Ogut, Krippendorff, 2017) or in wider creative practice by tools such as Brian Eno and Peter Schmidt's (1980) Oblique Strategies cards, all of which simulate the principle of Shklovsky's defamiliarising 'devices' to enable strangeness (Lemon & Reis, 1965;Bell et al, 2005).…”