1. MIS40850 Comparative Software Engineering Process Frameworks - Part 9 - www.ucd.ie/research/people/business/mrallenhiggins/

2. Discuss Readings Hargadon, A. B. & Bechky, B. A. (2006) When Collections of Creatives Become Creative Collectives: A field study of problem solving at work. Organization Science, 17, 484-500. Catmull, E. 2008. How Pixar Fosters Collective Creativity. Harvard Business Review, 89, 9.

3. When Collections of Creatives Become Creative Collectives “What turns collections of creative individuals into creative collectives, where particular interactions yield creative insights, yet those insights cannot be attributed to particular individuals?” (Hargadon and Bechky, 2006) p484

4. Six Creative Workplaces Management Consultants – Accenture – McKinsey & Company Product-Design Consultants – IDEO Product Development – Design Continuum Internal Consulting Groups in Manufacturing – HP Strategic Processes and Modelling Group, – Boeing GCAG Ops Tech Group

5. Where Do Collective Creative Processes Take Place? “this perspective recognizes the fleeting coincidence of behaviours that trigger moments when creative insights emerge. …insights that emerge in the interactions between individuals.” (Hargadon and Bechky, 2006) p485

6. Help Seeking ‘ad hoc meetings,’ ‘hallway conversations,’ and ‘tapping into personal networks.’ (Hargadon and Bechky, 2006) p490 At IDEO … “blame for any particular design failure depended on whether the engineer had asked others for help or not: If they had not sought help, then they would be held individually responsible.” (Hargadon and Bechky, 2006) p491

7. Help Giving “You talk with whom you can. You explore until you find people in the firm that are accessible, near enough in the time frame to talk about it.” (Hargadon and Bechky, 2006) p491 “There were certainly times when, for example, solicitations for help arrived as clear questions and could be easily returned with equally clear answers.” (Hargadon and Bechky, 2006) p491

8. Reflective Reframing “Within such interactions, introducing an alternative frame – and reflecting upon it – makes new aspects of the situation salient to other participants, prompting them to view the relevance of their past experiences in a new light.” (Hargadon and Bechky, 2006) p492

9. Reinforcing “asocial means of enabling knowledge sharing do not encourage people to participate in joint problem-solving efforts.” (Hargadon and Bechky, 2006) p493

10. The Pixar Case

12. Inside the big house Sources: Bohlin Cywinski Jackson Architecture (www.bcj.com) http://www.celebratingeqsafety.com/pixar-studios http://www.officesnapshots.com/2007/07/16/pixar-hq/

13. Cultural Roots The Pixar Case

14. TitleRelease Date Toy Story1995 A Bug’s Life1998 Toy Story 21999 Monsters, Inc.2001 Finding Nemo2003 The Incredibles2004 Cars2006 Ratatouille2007 WALL-E2008 Up2009 Toy Story 32010 Cars 22011 Brave2012 Monsters University 2013 TitleRelease Date Inside Out(19 June USA) 2015 NewtCancelled The Good Dinosaur (25 November USA) 2015 Finding Dory(17 June USA) 2016 Untitled: Día de los Muertos No date: Untitled:No date: 2017 Untitled:No date: 2018

15. The Creative Crisis The ‘proven creative leaders’ were working on A Bug’s Life, a second talented and capable team was working on Toy Story 2 but they were failing on several levels. “we had a good initial idea for as story, but the reels were not where they ought to have been by the time we started animation, and they were not improving. Making matters worse, the directors and producers were not pulling together to rise to the challenge.” (Catmull, 2008) p67 The Pixar Case

16. Resolving Failure “it was a defining moment for Pixar. It taught us an important lesson about the primacy of people over ideas: If you give a good idea to a mediocre team, they’ll screw it up. But if you give a mediocre idea to a great team, they’ll make it work.” (Catmull, 2008) p68 The underlying problem for Pixar however was ‘how to grow more ‘A’ team people?’ They couldn’t go on with ‘A’ teams and ‘B’ teams, with two different cultures. The Pixar Case

17. Power to the Creatives “the creative vision propelling each movie comes from one or two people and not from either corporate executives or a development department. …the department’s job is to assemble small incubator teams to help directors refine their own ideas to a point where they can convince John [Lasseter] and our other senior filmmakers…” (Catmull, 2008) p68 The Pixar Case

18. Brain Trust “a lively two-hour give-and-take discussion which is all about making the movie better. There’s no go. Nobody pulls any punches to be polite. This works because all the participants have come to trust and respect one another. They know it’s far better to learn about problems from colleagues when there’s still time to fix them than from the audience after it’s too late.” (Catmull, 2008) p69-70 The Pixar Case

19. Technical ‘Brain Trust’ failed until “As soon as we said, ‘This is purely peers giving feedback to each other,’ the dynamic changed, and the effectiveness of the review sessions dramatically improved.” (Catmull, 2008) p70 The Pixar Case

20. The dailies Daily meetings at the team level for giving and getting feedback on jobs. The format is short ‘show and tell,’ the dynamic is creative. There is a positive supportive atmosphere. The Pixar Case

21. Retrospectives – Introspective List the top five things you would do again. List the top five things you would not do again. Employ lots of data in the review. The Pixar Case

22. Risk Attitude, Trust and Respect “What we can do is construct an environment that nurtures trusting and respectful relationships and unleashes everyone’s creativity.” (Catmull, 2008) p66 The Pixar Case

23. Operating Principles Everyone must have the freedom to communicate with anyone. It must be safe for everyone to offer ideas. We must stay close to innovations happening in the academic community. The Pixar Case

24. WHAT IS DESIGN? (AGAIN) architecture, structure, structural, engineering, aesthetics, functionality, form, appearance, non-appearance, usability, etc. etc.

25. Where is the innovation?

26. CREATIVITY? Define

27. Soul of a New Machine General aspects of high-tech production Teams and interaction Innovation, management and leadership Engineering culture and work practices

28. Credit: Cray Inc. (http://www.craysupercomputers.com/)

29. Creativity “the process of becoming sensitive to problems, deficiencies, gaps in knowledge, missing elements, disharmonies, and so on; identifying the difficulty; searching for solutions, making guesses, or formulating hypotheses about the deficiencies; testing and retesting these hypotheses and possibly modifying and retestingthem; and finally communicating the results.” (Torrance, 1965)

30. Creativity “recombination of existing ideas” (Hargadon and Bechky, 2006) p485

31. Creativity The product, a movie, “contains literally tens of thousands of ideas. … Creativity must be present at every level of every artistic and technical part of the organization.” (Catmull 2008) p66

32. Brainstorming Quiet time Focus Suspend judgment Build on ideas Personal safety Serial discussion Source: HMM Managing for Creativity and Innovation (2003) &

33. The only thing that matters in software is the experience of the user! Inside IDEO Part 1

34. “It’s impossible that the boss is going to be the one who has had the insightful experience!” Inside IDEO Part 2

35. “Trying stuff and asking forgiveness instead of asking permission” “Fail often in order to succeed sooner.” Inside IDEO Part 3

36. WHAT IS DESIGN? (AGAIN) architecture, structure, structural, engineering, aesthetics, functionality, form, appearance, non-appearance, usability, etc. etc.

37. Construction and Design Exercise 1.Learning about the tools 2.Your own design idea 3.Build the base race 4.Play 5.Dismantle 6.Retrospective

38. Materials: "Lego Mindstorms" Robot Base (1 per group of 4 to 7 people). Copies of the Creativity Assessment Sheet. Allocate ~50 minutes. A: Technology Familiarisation Stage B: Play Prototype then Try: Part 1 C: Play Prototype then Try: Part 2

39. Please use port: 1 – Touch Sensor 2 – Sound Sensor 3 – Light Sensor 4 – Ultrasonic B/C – L/R motors Please use port: 1 – Touch Sensor 2 – Sound Sensor 3 – Light Sensor 4 – Ultrasonic B/C – L/R motors THE DISPLAY ON(OR)OK OFF(OR)BACK NAVIGATE LEFTRIGHT THE DISPLAY ON(OR)OK OFF(OR)BACK NAVIGATE LEFTRIGHT

40. Kinds of ACTION

41. Kinds of Thinking

42. Finish or Start Again (repeat or end)

44. action sense repeat or end

45. turn right 2 2 sound Forward touchloop

46. Instructions (allow 15”) Harness up the brick with its sensors and motors. Use ‘Try Me’ and the other MENU functions. E.G. Enter and Run programs directly from the brick. – Forward 5, empty, back right 2, empty, loop – Turn right, sound, back left, sound, loop – Forward, object, back left, object, loop – Turn left, dark, turn right, light, loop – Turn right, light, forward 5, empty, loop – Backward, touch, forward 5, empty, loop

47. Exercise: Sketch a Robot Aims Sketch a design for a driving base… Instructions (allow 15”) Provide paper, drawings only… Debrief

48. Exercise: Build a Standard Base (Race)

49. Play

50. Play, Prototype, and Try Part 1 Play, Prototype, and Try Part 1 1. Turn the robots OFF. 2. Problem 1 is set. 3. Allocate approximately 3 minutes for initial exploration and solution working individually. Individuals working alone write a program to solve the problem on paper. 4. Allocate approximately 5 minutes for group discussion and determination of group program. 5. Robots can now be turned ON. 6. Allocate approximately 5 minutes to program the robots and 3 minutes for the teams to demonstrate.

51. Team Name: Story Title: Guard the base I want to program my robot to drive around and ‘guard a base’. First, write my own program on PAPER. Next I’ll discuss my program with the rest of my team. As a team discuss all programs and agree a single program. Test our program and get ready to demonstrate. First, write my own program on PAPER. Next I’ll discuss my program with the rest of my team. As a team discuss all programs and agree a single program. Test our program and get ready to demonstrate.

52. Race 1

53. Play, Prototype, and Try Part 2 Play, Prototype, and Try Part 2 1. Turn the robots OFF. 2. Problem 1 is set. 3. Allocate approximately 3 minutes for initial exploration and solution working individually. Individuals working alone write a program to solve the problem on paper. 4. Allocate approximately 5 minutes for group discussion and determination of group program. 5. Robots can now be turned ON. 6. Allocate approximately 5 minutes to program the robots and 3 minutes for the teams to demonstrate.

54. Team Name: Story Title: Follow the line I want to program my robot to drive around the race track. First, write my own program on PAPER. Next I’ll discuss my program with the rest of my team. As a team discuss all programs and agree a single program. Test our program and get ready to demonstrate. First, write my own program on PAPER. Next I’ll discuss my program with the rest of my team. As a team discuss all programs and agree a single program. Test our program and get ready to demonstrate.

55. Race 2

56. Exercise Retrospective