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  1. 1. Welcome  UXHK  2015!!     Crea4vity,   Imagina4on  &   Innova4on   1   A Workshop on Design Thinking for Designers about Designers “Man  in  the  Mirror”  
  2. 2. mus ic rtlove learning creativity empath human-centered qualitative Consultant,     Digital  Strategy  &  Experience  Design   Slalom   100  Pearl  Street     15th  Floor   HarBord,  ConnecDcut    06103    US   personas scenarios practice usabilityhuman factors rich pictures design-thinking multidisciplinary ethics plain language taxonomy collaboration knowledgefindability methods collective intelligence process behavior culture 2   story-telling research change exploration ambiguity 2   curiosity neuroscience innovation seek jennifer.fabrizi@slalom.com www.linkedin.com/in/jenniferfabrizi www.twitter.com/jenniferfabrizi find ask open receive reach intuition perception emotion flow
  3. 3. 3  
  4. 4. 4   Agenda     •  INTRODUCTIONS   •  CREATIVITY  &  THE  HERO’S  JOURNEY   •  Working  in  the  Ordinary  World   •  Exploring  the  Special  World   •  TIME  FOR  A  LITTLE  BRAIN  SCIENCE:  tying  things  together   •  CLOSING,  WRAP  UP,  NAPS?,  QUESTIONS  AND  ANSWERS
  5. 5. 5   Agenda     •  INTRODUCTIONS   •  CREATIVITY  &  THE  HERO’S  JOURNEY   •  Working  in  the  Ordinary  World   •  Exploring  the  Special  World   •  TIME  FOR  A  LITTLE  BRAIN  SCIENCE:  tying  things  together   •  CLOSING,  WRAP  UP,  NAPS?,  QUESTIONS  AND  ANSWERS
  6. 6. 6   hp://ed.ted.com/lessons/what-­‐makes-­‐a-­‐hero-­‐mahew-­‐winkler     Creativity & THE HERO’S JOURNEY
  7. 7. The Ordinary World 7  
  8. 8. hp://johnnyholland.org/2010/04/planning-­‐your-­‐ux-­‐strategy/     8  
  9. 9. The Six Core Disciplines of User Experience User Research Content Strategy Information Architecture Interaction Design Visual Design Usability Evaluation
  10. 10. 10  
  11. 11. feasibility   planning   business  requirements   solu4ons  architecture   technical  design   development   tes4ng   stakeholder  research   user  research;  personas   scenarios  &  concept  designs   ux  architecture   ui  design  layout  &   specificaDons   ui  implementaDon   waterfall   ux  integraDon  with  waterfall   implementa4on   validaDon       validaDon       verificaDon           verificaDon       verificaDon       unit  test       systems  test       integraDon  tesDng   validaDon       validaDon       validaDon           formaDve       formaDve       summaDve       systems  test       integraDon  tesDng   11  
  12. 12. 12     Four  Voices   1.  Think  of  an  experience  at  work  that  was  a  barrier  to   your  creaDvity  or  success.       Pretend  you  will  tell  this  experience  to  4  different  real   people  you  know.     2.  Write  an  email  or  leer  to  the  person  in  your  life  who   knows  the  most  about  the  situaDon.  This  could  be  a   trusted  UX  team  member  or  someone  you’re  working   with  on  a  project.       ConDnue  with  3  remaining  recipients.  For  example:   write  to  your  boss,  your  best  friend,  your  mom.       3.  Take  a  moment  to  reflect  &  write  notes  on  elements  of   your  story  that  changed  or  stayed  the  same  based  on   the  recipient.  Consider  what  worked  or  didn’t  work  for   the  people  you  would  cral  this  message  for.           L.  Renery  Handalian,  hp://lrhand.me/2012/07/17/4-­‐voices/     Ac4vity:   Empathy  for  US,   Part  1    
  13. 13. 13   “User  Research”   Pair  up  with  someone  close  to  you.  Take  turns  playing  the   role  of  interviewer  and  interviewee  as  if  you’re  doing  user   research.  Ask  quesDons  about  their  story:  why  they  picked   it,  how  the  stories  were  different  depending  on  whom   they  were  wriDng  to,  and  why,  etc.       When  you  take  notes,  categorize  them  as  what  the   interviewee  is     •  THINKING  &  FEELING   •  SAYING  &  DOING   •  HEARING   •  SEEING         Ac4vity:   Empathy  for  US,   Part  2    
  14. 14. 14   Empathy  Mapping     1.  Regroup  with  your  table  to  create  a  “persona  canvas”   or  “empathy  map.”     2.  Group  discussion   Ac4vity:   Empathy  for  US,   Part  3    
  15. 15. Think  &  Feel   Do  &  Say   See  Hear   C   15  
  16. 16. The Special World 16   What tools will we need in this world? What is different about this world?  
  17. 17. 17  
  18. 18. 18   Ac4vity:   SHOSHIN   Developing  the     Beginner’s  Mind       1.  Look  at  this  photo.  Ask  yourself  what  stands  out;  what  is   happening  in  the  photo.  Write  down  your  thoughts.     2.  Divide  into  pairs  and  discuss  your  lists.  Ask  each  other   what  past  experiences  led  to  this  explanaDon  and  what   assumpDons  each  other  made  in  making  the  list.  (5  WHYs)   3.  Use  Opposite  Logic  to  challenge  the  assumpDon  the  other   person  has  made.     4.  Ask  how  the  interpretaDon  would  change  if  a  new  piece  of   informaDon  were  introduced.     5.  Regroup  with  your  table  and  discuss  what  you’ve  learned   from  this  exercise.  Consider  what  quesDons  you  would   ask  if  you  knew  nothing  about  the  context  or  acDvity   shown  in  the  photo.   Try  to  go  into  user  research  with  a  Beginner’s  Mind.  Think  about  how  you  might  prepare   differently  to  minimize  any  predetermined  ideas  or  mindsets.       Tip:  For  user  research,  try  asking  people  quesDons  that  you  think  you  might  already  know   the  answers  to.  People  might  answer  the  quesDons  differently  than  you  expect,   leading  you  to  uncover  insights  you  might  not  otherwise  noDce.         “In  the  beginner’s   mind  there  are   many  possibili5es,   in  the  expert’s   mind  there  are   few.”     –  Shunryu  Suzuki    
  19. 19. 19   The Myths of Innovation   The  myth…     1.  of  epiphany.   2.  that  we  know  history.   3.  of  a  method.   4.  that  we  love  new  ideas.   5.  of  the  lone  inventor.   6.  that  good  ideas  are  rare.   7.  your  boss  knows  more  than  you   8.  that  the  best  idea  wins   9.  that  problems  are  less  interesDng  than  soluDons.   10. that  innovaDon  is  always  good.     These  are  myths  are  our  mindsets  or  assumpDons  about  innovaDon   that  we  need  to  change.  Start  with  the  Beginner’s  Mind  to  consider   the  ingredients  needed  for  innovaDon.     From  Sco  Berkun’s  book,  “The  Myths  of  InnovaDon  
  20. 20. Transforming  People:  CollaboraDve   InnovaDon   20   Autonomy   Some  ingredients  for  Crea4vity  &  Innova4on   How  to  simplify  further?  
  21. 21. 21   SO… before & during thinking about… What we do, Who does it, When we do it, How we do it… Can we ask ourselves… “How does it FEEL?”
  22. 22. Fabrizi,  2013   I  have  to   pracDce!   I  have  to   pracDce!   I  have  to   pracDce!   I  have  to   pracDce!   I  have  to   pracDce!   I  have  to   pracDce!  
  23. 23. Fabrizi,  2013   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance  
  24. 24. Fabrizi,  2013   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance   Common  Goal  but  sDll   focused  on  MY   performance  
  25. 25. “Creativity is not a talent. It is a way of operating.” – John Cleese Space    physical  and  mental;  Space  to  be  undisturbed,  to  reflect     Time      for  play  to  take  place  in  space;  Time  to  be  playful.  To  have  fun.  To  be  child-­‐like.       Time      persisDng  in  uncertainty;  Time  to  be  ok  with  not  knowing  the  outcome.       Confidence    to  be  truly  serendipitous;  No  fear  of  being  wrong  or  at  least  the  ability  to   set  it  aside.  Environment  that  includes  retribuDon  and/or  rewards  perfecDon  over  learning  is   anDtheDcal  to  creaDvity.       Humor    to  aid  moving  from  closed  to  open;  Sense  of  joy,  humor,  fun  opens  us  from  being   anxious,  afraid,  manic.  The  feeling  is  one  of  freedom  and  lightness,  with  a  lack  of  awareness  of   the  passage  of  Dme.  
  26. 26. 26   Agenda     •  INTRODUCTIONS   •  CREATIVITY  &  THE  HERO’S  JOURNEY   •  Working  in  the  Ordinary  World   •  Exploring  the  Special  World   •  TIME  FOR  A  LITTLE  BRAIN  SCIENCE:     tying  things  together   •  CLOSING,  WRAP  UP,  NAPS?,  QUESTIONS  AND  ANSWERS
  27. 27. 27   Braindrawing   1.  Draw  a  picture  about  being  afraid  to  draw  a  picture  J     2.  When  Dme  is  up,  pass  your  drawing  to  the  person  to  your  lel.  Take  a   look  at  the  new  picture  in  front  of  you  and  add  to  it.       3.  Repeat  unDl  your  own  drawing  comes  back  to  you.       4.  Discuss  both  the  content  of  the  drawings  and  what  the  acDvity  felt   like  with  your  tablemates.     Ac4vity:   What  does   fear  do  to   crea4vity?     Do  you  someDmes  experience  the  jiers  or  “buerflies  in  your  stomach”  during  your  work?  Write  about  the  last   Dme  you  got  jiery  /  felt  buerflies  in  your  UX  pracDce.       •  Why  did  you  get  buerflies?   •  Did  you  experience  something  new  or  create  something  new?   •  How  olen  do  you  experience  this  feeling?       Consider  “Tracking  BuYerflies”  over  Dme  as  a  way  to  see  if  you’re  actually  open  to  new  ideas  and  experiences.  If   it’s  been  a  year  or  more  since  you  felt  this  way,  maybe  it’s  Dme  to  introduce  something  new.       William  Greenwald,  Chief  Neuroleaderologist,  Windsor  Leadership  Group,   hp://www.windsorlg.com/about/meet-­‐our-­‐founder/       Tip:  Use  a  similar  acDvity  for  idea  generaDon  with  stakeholders  and  end-­‐users.      
  28. 28. Two brain paths to creativity?? (Or it’s not really about left and right brains.) 28  Shelley  Carson,  “Your  CreaDve  Brain”  
  29. 29. 29   hps://vimeo.com/29485820     Sir  Ken  Robinson,  RSA  Animate   One   SoluDon  
  30. 30. 30   Think about this: How would a Convergent Thinker answer this SAT question? How about a Divergent Thinker? Choose  the  word  or  set  of  words  that,  when   inserted  in  the  sentence,  best  fits  the  meaning   of  the  sentence  as  a  whole.       His  -­‐-­‐-­‐-­‐-­‐-­‐-­‐  prior  experience  notwithstanding,   David  was  judged  by  the  hiring  manager  to  be   -­‐-­‐-­‐-­‐-­‐-­‐-­‐  the  job.     (A)  illustrious  .  .  enDtled  to     (B)  limited  .  .  qualified  for     (C)  applicable  .  .  assured  of     (D)  useful  .  .  overqualified  for     (E)  irrelevant  .  .  perplexed  by  
  31. 31. 31   Seat of the “Executive Function”
  32. 32.   What is the goal of process optimization?   error elimination       32  
  33. 33. Why  do  many  large  companies   buy  their  innovaDon?  Because  their  dominant   culture  of  99%  defect-­‐free  operaDonal  excellence   squashes  any  aempts  at  innovaDon  just  like  a   Sumo  wrestler  siwng  on  a  small  gymnast.  They   cannot  accept  failures.  The  reality  is  that  failures   are  a  necessary  part  of  innovaDon.   hp://www.forbes.com/sites/darden/2012/06/20/creaDng-­‐an-­‐innovaDon-­‐culture-­‐accepDng-­‐failure-­‐is-­‐necessary/     “ “ 33  
  34. 34. Ambidextrous   organizaDons  have  built-­‐ in  capabiliDes  for   efficiency,  consistency   and  reliability  on  the  one   hand,  and   experimenta4on,   improvisa4on  and  luck   on  the  other.     Tushman,  Michael  L.  &  O`Reilly  Charles  A.  2004   34  
  35. 35. What does this mean for leading creative, innovative organizations? 35   Linda  Hill,  et  al,  CollecDve  Genius,  2014  
  36. 36. 36   A sample from art and music of the Deliberate Pathway to creativity M.C. Escher J.S. Bach Toccata & Fugue
  37. 37. 37   A sample from art and music of the Spontaneous Pathway to creativity Vincent Van Gogh’s Starry Night Mozart’s Le Nozze de Figaro Christian McBride’s jazz trio
  38. 38. 38  
  39. 39. 39  
  40. 40. 40  
  41. 41. 41   INTRO  TO  IMPROV   One-­‐Word  Story:     Work  with  your  table  group  on  this  acDvity.  You  can  stay  at  your   table  or  find  a  corner  where  you  can  hear  each  other  beer.       1.  Start  with  one  person  in  your  table  group  saying  a  word.     2.  Anyone  can  jump  in  with  the  next  word.     3.  ConDnue  in  this  way  unDl  you’ve  created  a  story  (or  unDl   Dme  runs  out).     Ac4vity:   Prac4cing   Divergence   Varia4on:     If  your  group  has  difficulty  with  folks  feeling  comfortable  jumping  in,  try  this   variaDon:     Instead  of  people  randomly  jumping  in,  you  can  choose  to  go  around  the  group,  one   person  at  a  Dme,  with  each  person  adding  a  word  in  turn.    
  42. 42. 42   CIRCUS  IMPROV     1.  Use  props  that  you  think  the  audience  will  find  funny   or  entertaining  in  some  way.   2.  Stand  at  the  starDng  point.   3.  Your  goal  is  to  walk  to  the  end  point.   4.  As  long  as  the  audience  is  laughing  /  clapping,  you  can   walk.  If  they  stop,  you  have  to  walk  toward  the  starDng   point  unDl  the  audience  is  laughing  /  clapping  again.     Ac4vity:   More  Prac4ce   of  Divergence   Think  about  using  the  walk  back  to  the  starDng  point  to  propel  you  forward.  You  don’t   have  to  walk  back  in  failure!    
  43. 43. 43   You  are  a  Super  Hero  with  creaDve  powers.  Draw  a  portrait  of  you  as  a  Super  Hero:                                       What  are  your  Super  Powers?     I  can……..                   Ac4vity:   Super  Hero     Remember  that  we  are   all  born  to  be  creaDve.       We  can  be  blocked.     Even  if  we’re  not   blocked,  it’s  ok  to  give   yourself  permission  to   nurture  your  inner   arDst.  It  will  help  you   stay  open!   Do  math  in  my  head   Fly  to  the  grocery  store  and  back  in  20  mins  so  my  kids  are  happy   Doodle  during  mee4ngs  AND  remember  what  everybody  said!     Do  you  have…     A  cape?   A  magic  wand?   A  car  that  transforms  into  a  plane?     What  else?  
  44. 44. 44   Our  minds  don’t  just  tell  our  bodies  what  to  do;  our  bodies  can  teach  our   minds  what  to  think  and  how  to  feel.  By  pracDcing  a  certain  pose,  we  can   create  the  neural  pathways  to  feel  a  new  way.  We  can  “fake  it  unDl  we   make  it”  –  or  we  can  pracDce  it  unDl  it’s  part  of  us:  fake  it  un5l  we  become   it.         1.  Stand  up!   2.  Raise  your  hands  over  your  head   3.  Lil  your  chin   4.  Smile     This  is  the  Power  or  Victory  Pose.  In  cultures  the  world  over  you  can  see   people  in  this  pose  in  the  moment  of  victory.  Just  watch  football  or  races   and  you’ll  see  it!  Just  standing  in  this  pose  can  affect  levels  of  stress   hormones  in  the  brain.     Group   Ac4vity:   The  Power   Pose   Tip:  Prac4ce  this  before  you  have  to  present  to  execuDves,  or  give  a  talk  like  this  one!  J  PracDce  it  every  day  in  the  restroom  at  work  or   as  you  wake  up  in  the  morning.  Look  in  the  mirror  once  in  a  while  when  you’re  doing  this;  observe  yourself  in  the  pose  and  think  of  the   feeling  of  confidence.     We  can  all  increase  our  confidence  in  our  creaDvity  and  other  abiliDes  by  using  the  power  of  our  body  language.  Even  just  remembering   to  sit  up  straight  in  meeDngs  or  at  your  desk  can  help.       “Your  body  language  shapes  who  you  are,”  Amy  Cuddy,  TEDGlobal  2012,   hp://www.ted.com/talks/amy_cuddy_your_body_language_shapes_who_you_are?language=en       “CreaDve  Confidence:  Unleashing  the  CreaDve  PotenDal  Within  Us  All,”  Tom  Kelley,  David  Kelley,   hp://www.amazon.com/CreaDve-­‐Confidence-­‐Unleashing-­‐PotenDal-­‐Within-­‐ebook/dp/B00CGI3DWQ    
  45. 45. 45   Agenda     •  INTRODUCTIONS   •  CREATIVITY  &  THE  HERO’S  JOURNEY   •  Working  in  the  Ordinary  World   •  Exploring  the  Special  World   •  TIME  FOR  A  LITTLE  BRAIN  SCIENCE:     tying  things  together   •  CLOSING,  WRAP  UP,  NAPS?,  QUESTIONS  AND   ANSWERS  
  46. 46. 46   Practice your creative instrument (your BRAIN) Add creative practices into your personal & UX practices where you can. Remember that creativity is a core HUMAN FACTOR! Learn from innovators how to manage creatives & creatively Look in the mirror Transform others Transform yourself
  47. 47. 47   Let’s  all  take  a  few  moments  to  reflect  on  the  acDviDes  in  this  workshop.  Below   are  some  prompts  to  use  if  you’d  like  to  write  your  thoughts  down.  You  might   prefer  to  sketch.  Or  to  just  quietly  reflect.  This  is  all  fine.       Prompts:   •  Which  acDviDes  made  you  feel  the  most  comfortable?  Why?  How  about  the   acDviDes  that  made  you  feel  the  most  uncomfortable?  Why?       •  Some  of  today’s  acDviDes  could  be  used  in  conducDng  user  research.  In  fact,   some  were  chosen  specifically  because  they  are  used  in  user  research.  Have   you  facilitated  user  research  acDviDes  like  these?  Have  you  ever  lead  a  co-­‐ design  session?  What  happened?  How  did  people  feel?  Was  it  successful?   Why  or  why  not?       •  Consider  which  of  today’s  acDviDes  you  might  enjoy  recreaDng  for  others.   Who  might  they  be?  What  would  your  goal  be?  How  would  you  set  up  your   space  and  agenda  to  nurture  and  support  the  experience?       •  What  can  you  bring  into  your  daily  life  or  “daily  pracDce”  to  enhance  your   own  creaDvity?  How  do  you  think  this  might  impact  your  work?       •  Think  about  projects  that  you  have  been  on  or  are  on  right  now  where   people  seem  “check  out”  or  disengaged.  How  can  you  bring  your  creaDve   problem  solving  to  help  enhance  creaDvity  and  foster  a  collaboraDve  team   culture?   Ac4vity:   Wri4ng  /   Drawing   Reflec4on  
  48. 48. 48   “Man  in  the  Mirror”   Time for Questions, Answers, Discussion, Naps, Food?
  49. 49. 49   “Man  in  the  Mirror”   Appendix:  References     To  my  friends  from  UX  Hong  Kong  2015  and  the  CT  Chapter  of  the  UXPA:     The  following  slides  contain  some  of  the  resources  I’ve  used  in  the  creaDon  of  this   workshop.  I’m  sharing  them  with  you  to  encourage  your  own  CreaDve  Journey.  Your   journey  might  include  some  readings,  experiences,  as  well  as  your  own  experiments  with   your  personal  creaDvity.  I  encourage  you  to  contact  me  if  you  discover  new  material  or  if   you’ve  experienced  new  insights.       I  can  be  reached  at     jennifer.fabrizi@slalom.com   www.linkedin.com/in/jenniferfabrizi/en   hps://twier.com/jenniferfabrizi       All  the  best,   Jen  Fabrizi  
  50. 50. About  crea4vity  &  innova4on   50   There  is  a  ton  of  informaDon  out  there  right  now  about  creaDvity  &  innovaDon.  Here  are  just  a  few  resources  that  you  can  check  out  but   this  list  is  by  no  means  exhausDve.     Books  of  interest:   •  Julia  Cameron,  “The  ArDst’s  Way”   •  Shelly  Carson,  “Your  CreaDve  Brain”   •  Linda  Hill,  et  al,  “CollecDve  Genius”  (I  strongly  recommend  this  book,  especially  if  you’re  a  manager  or  leader  of  a  creaDve  team  /   organizaDon.)   Hill  &  Truelove,  Harvard  Bookstore  presentaDon:   hps://www.youtube.com/watch?v=NWaAEUVBT8A   TEDx  Cambridge:    hps://www.youtube.com/watch?v=ImmtTHYU5GQ     •  Sco  Berkun,  “The  Myths  of  InnovaDon   If  you  Google  Sco  Berkun  you’ll  find  a  wealth  of  informaDon.     Online:   •  Jazz  and  Brain  Science  audio  clip  &  arDcle   hp://blogs.kqed.org/mindshil/2014/04/the-­‐link-­‐between-­‐jazz-­‐improvisaDon-­‐and-­‐student-­‐creaDvity/     •  The  Power  Pose:  Link  to  Amy  Cuddy  TED  Talk, hp://www.ted.com/talks/amy_cuddy_your_body_language_shapes_who_you_are?language=en      
  51. 51. References  &  Resources     UX  DISCIPLINES   Blevis,  E.,  &  Stolterman,  E.  (2009).  FEATURE:  Transcending  disciplinary  boundaries  in  interacDon  design.  interac5ons,  16(5),  48–51.   doi:10.1145/1572626.1572636     In   their   arDcle   the   authors   discuss   the   nature   of   mulDdisciplinary,   interdisciplinary,   and   “transdisciplinary”   work   in   the   user   experience  domains.  I  have  adapted  and  expanded  their  model  to  apply  to  a  Capability  Model  framework.  A  framework  should  lead   toward  mulDdisciplinary  work  but  degrees  of  mastery  in  each  capability  need  to  be  achieved  first.  Also,  as  a  framework,  the  aributes   are  not  to  be  considered  absolute  or  definiDve;  put  another  way,  there  is  considerable  overlap  (“transdisciplinary”  thinking).     Also  read:  hp://www.uxmaers.com/mt/archives/2007/11/the-­‐five-­‐competencies-­‐of-­‐user-­‐experience-­‐design.php       Ling,  B.  (n.d.).  Design  Management  vs.  Design  Thinking.  Design  Sojourn.  Retrieved  May  26,  2013,  from   hp://www.designsojourn.com/design-­‐management-­‐vs-­‐design-­‐thinking/       FROM  KNOWLEDGE  &  CHANGE  MANAGEMENT   Craig,  W.,  Fisher,  M.,  Garcia-­‐Miller,  S.,  Kaylor,  C.,  Porter,  J.,  &  Reed,  L.  (2009).  Generalized  Criteria  and  EvaluaDon  Method  for  Center   of  Excellence:  A  Preliminary  Report.  SoFware  Engineering  Ins5tute.  Retrieved  from  hp://repository.cmu.edu/sei/278     And  read  more  about  CommuniDes  of  PracDce:     hp://www.infed.org/biblio/communiDes_of_pracDce.htm       Iqbal,  M.  (n.d.).  Customer  Experience  and  OrganisaDonal  Change:  ReflecDons  on  the  Limits  and  Folly  of  Outside-­‐In.  CUSTOMER  +   LEADERSHIP  BLOG.  Retrieved  May  26,  2013,  from   hp://thecustomerblog.co.uk/2013/04/16/customer-­‐experience-­‐and-­‐organisaDonal-­‐change-­‐reflecDons-­‐on-­‐the-­‐limits-­‐and-­‐folly-­‐of-­‐ outside-­‐in/       MODELING  COMPLEX  WORK  RELATIONSHIPS   Monk,  A.,  &  Howard,  S.  (1998).  Methods  &  tools:  the  rich  picture:  a  tool  for  reasoning  about  work  context.  interac5ons,  5(2),   21–30.  doi:10.1145/274430.274434         POWER  OF  NETWORKS   hp://www.thersa.org/events/rsaanimate/animate/rsa-­‐animate-­‐the-­‐power-­‐of-­‐networks   51  
  52. 52. References  &  Resources     About  CMM  /  CMMI   CMMI  InsDtute,  Carnegie  Mellon    |    www.cmmiinsDtue.com   downloadble    resources  including    CMMI  models     Solware  Engineering  InsDtute    |    Carnegie  Mellon   hp://www.sei.cmu.edu/cmmi/?locaDon=secondary-­‐nav&source=652373     Background  on  the  CMM   hp://en.wikipedia.org/wiki/Capability_Maturity_Model     Dymond,  K.  M.  (1995).  A  Guide  to  the  Cmm:  Understanding  the  Capability  Maturity  Model  for  SoFware.  Process  Inc  U.S.   hp://www.amazon.com/exec/obidos/ASIN/0964600803/ref=nosim/lindazaratesc-­‐20/     User  Experience  Capability  Maturity  Models  (UX  CMMs)   Rich  Buwglieri’s  presentaDon  to  UXPA  Boston  on  UX  Maturity  Models   hp://www.slideshare.net/UPABoston/ux-­‐maturity-­‐modelbuwglieri   Rich  references  other  exemplars  of  UXMMs.     A  nice  example  from  Johnny  Holland  with  6  levels  of  maturity:   hp://johnnyholland.org/2010/04/planning-­‐your-­‐ux-­‐strategy     A  cute  version:   hp://www.tarrani.net/tzmodel/EvoluDonOfProcessMaturity.jpg       Process  Models  for  Agile   hp://www.agile-­‐training-­‐courses.com/scrum.html     hp://agileproductdesign.com/useful_papers/miller_customer_input_in_agile_projects.pdf       52