Slide deck from UX Hong Kong 2015

1. Welcome
UXHK
2015!!
Crea4vity,
Imagina4on
&
Innova4on
1
A Workshop
on Design Thinking
for Designers
about Designers
“Man
in
the
Mirror”

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

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
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
hp://ed.ted.com/lessons/what-­‐makes-­‐a-­‐hero-­‐mahew-­‐winkler
Creativity & THE HERO’S JOURNEY

7. The Ordinary World
7

8. hp://johnnyholland.org/2010/04/planning-­‐your-­‐ux-­‐strategy/
8

9. The Six Core Disciplines of User Experience
User
Research
Content
Strategy
Information
Architecture
Interaction
Design
Visual
Design
Usability
Evaluation

10. 10

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
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
“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
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. Think
&
Feel
Do
&
Say
See
Hear
C
15

16. The Special World
16
What tools will we need in this
world?
What is different about this
world?

17. 17

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
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. Transforming
People:
CollaboraDve
InnovaDon
20
Autonomy
Some
ingredients
for
Crea4vity
&
Innova4on
How
to
simplify
further?

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. 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. 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. 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. “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
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
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. Two brain paths to creativity?? (Or it’s not
really about left and right brains.)
28
Shelley
Carson,
“Your
CreaDve
Brain”

29. 29
hps://vimeo.com/29485820
Sir
Ken
Robinson,
RSA
Animate
One
SoluDon

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
Seat of the “Executive Function”

32.
What is the goal of process
optimization?
error elimination
32

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. 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. What does this mean for leading creative,
innovative organizations?
35
Linda
Hill,
et
al,
CollecDve
Genius,
2014

36. 36
A sample from art
and music of the
Deliberate Pathway
to creativity
M.C. Escher
J.S. Bach Toccata &
Fugue

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

39. 39

40. 40

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
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
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
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
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
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
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
“Man
in
the
Mirror”
Time for Questions, Answers,
Discussion, Naps, Food?

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. 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. 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. 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