Concepts想法

Even though games only exist when they are played and cannot be easily shared or captured (a video of a game is not the same as the experience of the game), there are some common, basic ingredients that our games and non-games share. Most of these ideas are borrowed from very smart people and transformed/distorted for our own purposes and our specific contexts:^[1]

遊戲只有在玩的時候才存在，不能輕易分享或捕捉（遊戲影片跟遊戲體驗不一樣），但是我們仍然可以分享我們的遊戲和體驗使用的一些基本概念。 這些想法大多數來自非常聰明的人，並根據我們自己的情況進行了改造：^[1]

1.Psychogeography心理地理學

Perhaps counterintuitively, psychogeography is not a proper branch of psychology or geography in any academic sense. Psychogeography was devised by the Situationist International (1957-1972) a radical leftist european art and political collective as a way to understand how places affect human emotions and behavior.

Psychogeography is practiced through walking, mapping and interacting with the environment. Its main tool is the drift (from french dérive), which is simply the notion of allowing oneself to get lost and wander around a specific place (individually or with other people), thus becoming completely submerged in it. The idea is that once you let yourself get lost you are free to perceive how things are really connected and how they influence people's bodies,minds and actions.

心理地理學(psychogeography)其實並不是心理學或地理學的一個分支。 它是由「情景主義國際」（1957-1972）一個激進的左翼歐洲藝術和政治團體創建的。心理地理學旨在了解地方如何影響人類的情感和行為。

心理地理學是透過步行、繪製地圖、與環境互動來練習的。 它的主要工具是「漂移」（法語：dérive），這意味著讓自己迷失並在一個特定的地方（單獨或與其他人）徘徊，並完全沉浸在其中。 這個想法是，一旦你讓自己迷失了，你就可以自由地感知事物如何真正相互連結以及它們如何影響人們的身體、思想和行為。

2.Design Animism設計泛靈論

Animism is the belief that both animate and inanimate things have souls, agency, subjectivity. Design animism is an approach to design in which the traditional user/player subject is not necessarily the starting point or central focus of the creation process, instead objects are assumed to be subjects as well and as such they influence and shape the design outcome. In our case, design animism means that we assume (imagine) that a place (our front street, our neighborhood, the whole city...) has its own needs and desires that go beyond those of their human inhabitants. We aim to create situations in which those intangible urban needs are at the very least acknowledged.

Design animism engages players' imagination to understand places from multiple and surprising perspectives.

泛靈論相信有生命和無生命的事物都有靈魂、能動性和主體性。 設計泛靈論是一種設計方法，其中傳統的使"user/player"主體不是創作過程的起點，而是假設物件也是主體，因此它們影響和塑造設計結果。 在我們的例子中， 設計泛靈論意味著我們想像一個地方（例如：我們的前街、我們的社區、整個城市...）有自己的需求和願望，超越了人類居民的需求和願望。 我們希望創造機會來強調那些看不見的城市需求。

設計泛靈論激發玩家的想像力，從多個令人驚訝的角度理解地方

3.Problem Design問題設計

The most common conception is that design (among other fields) focuses on solving problems, in contrast, Problem design is how to use problems as a tool to engage players to participate, think and create in the environment they live in. In this context problems are understood as intriguing questions, absurdist tasks, playful annoyances, interesting obstacles, etc. that can potentially inspire people to change their point of view and perhaps even transform their behavior.

人們常說設計（以及其他領域）專注於解決問題。 相較之下，問題設計是如何使用問題作為工具，讓玩家在他們的環境中參與、思考和創造。 問題可能是有趣的挑戰、荒唐的任務、令人驚訝的小煩惱或障礙等，這些都可能激發人們改變他們的觀點，甚至改變他們的行為。

4.Topology拓撲學

Topology is concerned with how things are connected and how these connections form networks and surfaces. Contrast this with geometry, in which the main concern is the position of points in space, relative distances and orientation. For topology everything is made out of rubber and can be stretched or squeezed infinitely. However, no matter how much an object can be deformed, distorted or displaced, the relationships between different parts of the whole remain unchanged. We apply topology (in a loose philosophical way more than in the strictly mathematical way) to explore new ways of mapping and understanding our connection to places.

拓撲是關於事物如何連接以及這些連接如何形成網絡和表面的。 將此與幾何對比，幾何中主要關注點在空間中的位置、相對距離和方向。 對於拓撲結構來說，一切都是由橡膠製成的，並且可以無限拉伸或擠壓。 然而，無論物體變形多少，整體不同部分之間的關係保持不變。 我們應用拓撲學（以鬆散的哲學方式而不是嚴格的數學方式）來探索繪製和理解我們與地點的聯繫的新方法。