Productive multivocal analysis – Part 1: Avoiding the pitfalls of interdisciplinarity

Community member post by Kristine Lund

kristine-lund
Kristine Lund (biography)

Many voices are expressed when researchers from different backgrounds come together to work on a new project and it may sound like cacophony. All those voices are competing to be heard. In addition, researchers make different assumptions about people and data and if these assumptions are not brought to light, the project can reach an impasse later on and much time can be wasted.

So how can such multivocality be positive and productive, while avoiding trouble? How can multiple voices be harnessed to not only achieve the project’s goals, but also to make scientific progress? Continue reading

Improving mutual consultation among key stakeholders to optimize the use of research evidence

Community member post by Allison Metz

Alison Metz
Allison Metz (biography)

Processes to support the uptake of research evidence call for each of the key stakeholders to consider the challenges faced by other key stakeholders in making good use of research evidence. When stakeholders have the opportunity to consider perspectives other than their own, they will generally have a broader understanding of the problem space, and, in turn a greater commitment to co-creating prototypes for improving research translation.

Let’s consider a real world example in New York City’s public child welfare system. Continue reading

What’s in a name? The role of storytelling in participatory modeling

Community member post by Alison Singer

singer
Alison Singer (biography)

That which we call a rose,
by any other name would smell as sweet.

That Shakespeare guy really knew what he was talking about. A rose is what it is, no matter what we call it. A word is simply a cultural agreement about what we call something. And because language is a common thread that binds cultures together, participatory modeling – as a pursuit that strives to incorporate knowledge and perspectives from diverse stakeholders – is prime for integrating stories into its practice.

To an extent, that’s what every modeling activity does, whether it’s through translating an individual’s story into a fuzzy cognitive map, or into an agent-based model. But I would argue that the drive to quantify everything can sometimes make us lose the richness that a story can provide. Continue reading

Sharing integrated modelling practices – Part 2: How to use “patterns”?

Community member post by Sondoss Elsawah and Joseph Guillaume

sondoss-elsawah
Sondoss Elsawah (biography)

In part 1 of our blog posts on why use patterns, we argued for making unstated, tacit knowledge about integrated modelling practices explicit by identifying patterns, which link solutions to specific problems and their context. We emphasised the importance of differentiating the underlying concept of a pattern and a pattern artefact – the specific form in which the pattern is explicitly described. Continue reading

Sharing integrated modelling practices – Part 1: Why use “patterns”?

Community member post by Sondoss Elsawah and Joseph Guillaume

sondoss-elsawah
Sondoss Elsawah (biography)

How can modellers share the tacit knowledge that accumulates over years of practice?

In this blog post we introduce the concept of patterns and make the case for why patterns are a good candidate for transmitting the ‘know-how’ knowledge about modelling practices. We address the question of how to use patterns in a second blog post. Continue reading

Looking for patterns: An approach for tackling tough problems

Community member post by Scott D. Peckham

Scott D. Peckham (biography)

What does the word ‘pattern’ mean to you? And how do you use patterns in addressing complex problems?

Patterns are repetitions. These can be in space, such as patterns in textiles and wallpaper, which include houndstooth, herringbone, paisley, plaid, argyle, checkered, striped and polka-dotted.

The pattern concept can also be applied to repetitions in time, as occur in music. Those who know the temporal patterns can classify a piece of music as a blues, waltz or salsa. For each of these types of music, there are also classic dance steps, that usually go by the same name; these are patterns of movement in space and time.

These examples get to the idea that patterns can be viewed more generally as any type of repetitive structure or recurring theme that we can look for and potentially recognize or discover and then assign a memorable name to, such as “houndstooth” or “waltz”. Recognizing the pattern may then indicate a particular course of action, such as “perform dance moves that go with a waltz”.

The ability to recognize a pattern and then take appropriate action is something that we associate with intelligence. Continue reading