Patton Collaborative Cardplay

7/31/2019 Patton Collaborative Cardplay

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Collaborative

Jeff PattonArchitect, interaction designer,& agile user experience evangelist

[email protected]

As you get yourself situated,

please form yourselves into

working groups of 5-7 people

(sit by people who look friendly)


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2

Jeff, introduce yourself


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3

Together well cover three subjects:

1. Discuss and practice card modeling

2. Basic types of card models and their uses

3. Modeling in collaborative work sessions


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4

Models help build shared

understanding


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2006-2008 Jeff Patton, All rights reserved, www.agileproductdesign.com 5

Often when we verba lly d isc uss ideas,we may incorrec tly believe we have the same

understanding


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Representing our ideas as models

a llows us to detec t inc onsistenc ies in our und ersta nd ing


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roug sc usson an era ve mo ebuild ing we a rrive a t a stronger sha red

understanding


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Using that c ommon understanding we c an

work together to a rrive a t the same ob jec tives


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9

Modeling using index cards or stickies

allows everyone to be involved,

and allows us to build a more malleable

model


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10

It looks like this


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Lets give it a try


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Act I: Silent Brainstorming


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Pick up 4 blue or purple index cards,

and a thick Sharpie marker


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When I say go write down your 3

favorite movies on the index cards

using the markers, one movie per card


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Not yet wait till I say go


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Use the 4th card in case you make a

mistake, or choose to sneak in an extra

movie


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Go!

Using a Sharpie marker write your 3

favorite movies on blue or purple index

cards, one title per card


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Is everyone almost done?

Ok, pens down then.


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If you havent already, arrangeyourselves into to work groups of 6

or so.

Say Hi to everyone in your

workgroup.

(OK thats enough of that.)


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Together, as a group youll build a

favorite movie model.


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Act II: Modeling


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Within your group and one at a time

read your movies out loud to the group

and place them on the table in front of

you where you can all see them.


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Working together, arrange the moviesby affinity movies that seem similar

place together in a cluster, movies thatseem different place farther apart from

the others.


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Really similar really close,

Really different really far apart.


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Lets take a few minutes with this.


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Go!

Within your group and one at a time read your

movies out loud to the group and place

them on the table in front of you where

you can all see them.

Together arrange the movies by affinity

movies that seem similar, place together in

a cluster. Movies that seem different place

farther apart.

Really similar really close, really different

really far apart.


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Ok, stop modeling.


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With luck you have a few piles, or

clusters of movie titles


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Now, as a team, choose a suitable name

for each cluster.


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It may be natural to think of simple

categories but instead, try to think ofdistilling statements like:


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Our team likes quirky comedies

or

Were not afraid to admit we like

Disney movies

or

Mindless action films are rotting ourbrains


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Where categorizations label whats in a

cluster, distilling statements stand-in

for the cluster distill it into

meaningful information.


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Together as a team, using a Sharpiemarker and a yellow index card, write

a distilling statement for each cluster.

(Yes, one card all by itself counts as a cluster.)


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Ready?


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Go!

Together as a team, using a Sharpie

marker and a yellow index card, write

a distilling statement for each cluster.

Good distilling statements stand-in for

the cluster distill it into meaningful

information.


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Ok, just one more step.


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Act III: Prioritization


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Now lets find important parts of our

model by asking a question


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If you were stranded on a desert island

with food, water, a bicycle powered DVD

player, and 3 movies, what 3 movieswould you want them to be?


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Wait! Dont answer yet!

Pick up three wrapped candies from the

table.

(Any self respecting conference should have a small bowls of

mediocre candies on the table)


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Use the wrapped candy to

vote.

Place your votes directly on the

blue movie cards

(You can change your mind if you want thats why we used

candies as voting tokens.)


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Go!

If you were stranded on a desert island with

food, water, a bicycle powered DVD player,

and 3 movies, what 3 movies would you want

them to be?

Using three wrapped candies per

person vote for your 3 movies.

Place your votes directly on the

blue movie cards.


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Whew!

Ok, were done.


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Lets talk about what we just did.

A model is any visua l rep resenta tion


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A model is any visua l rep resenta tionof our c urrent understand ing of a c oncep t

[a model is] a desc rip tion or ana logy used to helpvisua lize something (as an a tom) that c annot be

d irec tly ob served Merriam-Webster on-line

For our purposes: a model is any visua l rep resenta tion of our c urrent und erstand ing

of a c onc ept

Working c ollabora tive ly in front


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Working c ollabora tive ly in frontof a mod el hea ts up c ommunic a tion

Alistair Cockburn 2003-6Slide 22

Face-to-face allows vocal, subvocal, gesturalinformation to flow, with fast feedback

Richness of communication channel

Co

mmunicationE

ffectiveness

2 people atwhiteboard

2 peopleon phone

2 peopleon chat

Videotape

PaperAudiotape

(NoQuesti

on-Answe

r)

(Que

stion

-and-An

swer)

(Courtesy of Thoughtworks, inc.)

cooler warmer

In Cockburns

Agile Software

Development, hedescribes howcommunication varies

in temperature.

Increasing

communicationtemperature is animportant tenet of Agile

Modeling.

Ca rd models fa ll into a c ouple c ommon


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Ca rd models fa ll into a c ouple c ommoncategories

Affinity Diagrams

Chronolog ic a l Mod els

Decompositions

Ad Hoc Cha rts

Mix and matc h as you see fit

Affinity Diagrams help d istill and


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Affinity Diagrams he lp d istill andmake sense of la rge amounts of information

Affinity Diagrams: c luste r like information in columns or p iles. Distilling

sta tements summarize eac h p ile to a llow the c onsumer to q uic kly

und ersta nd information, d iving into deta ils when nec essary.

Chronolog ic a l models a rrange information


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Chronolog ic a l models a rrange informationover time

Chronolog ic al Models:

arrange ideas into a time

sequenc e. They re grea t

for quic kly und erstand ing

and manipula ting

c onc urrenc y and

dependency.

Dec ompositions he lp us visua lize


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Dec ompositions he lp us visua lizehow ideas b reak down into sma ller ideas

Decompositions: Decompose

la rger ideas into sma ller ideas.

Dec ompositions a re built topdown, unlike a ffinity d iagrams

built bottom up .


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Ad Hoc Cha rts help visua lize da ta

Ad Hoc Charts: c an be

assembled quic kly from

data ga thered during

c ollabora tive work sessions

Ca rd modeling c an be used for a variety of


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g ypurposes

Requirements & Func tiona l

Design

Use Case Modeling

Workflow Modeling

Risk Modeling

Business Goa l Modeling

Organiza tiona l & Tec hnic a l

Context Modeling User Inte rfac e Proto typ ing

UI Naviga tion Ma p Construc tion

Projec t Ma nagement

Blitz Projec t Planning

Simp le Work Plans

Tec hnic a l Design

Class Modeling (CRC CardModeling)

Seq uenc e Diagrams

Meeting Fac ilita tion

Retrospective Notes

Parking Lots Collecting Facilitated Interview

Data

Blend model types and annota te


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ypmodels to ac c ura tely represent your ideas

Blend Models

For example, chrono log ic a l mod els with functiona l dec ompositionsma ke exc ellent func tiona l req uirement ma ps

Annota te Models

Use Sharp ies and stic kies to annota te your model with rela tionshipsbetween g roup s or ad hoc informa tion d isc ussed during the m od elingsession

Models p rovide exc ellent foc a l points for


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p pd isc ussions

Prioritiza tion and p lanning ac tivities


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Prioritiza tion and p lanning ac tivitiesare effec tive when c onducted over a c ard model


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Guidelines for c a rd modeling

1. Write a sing le idea per c ard

2. Write la rge a nd c lea r

3. Rip up c ards

4. Write out loud

5. Everyone writes

6. Everyone touc hes c a rds

7. Arrange c ards spa tia lly

8. Mod el in color


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Ca rd mod eling g otc has

1. Illeg ib le cards

2. Partic ipants a re a fra id to touch the c ards.

3. Too many c ards


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Model in c ollabora tive work sessions

Use Collabora tive Modeling Sessions to : Build up tac it shared know led ge within the tea m Build com munica tion a nd collaboration skills within the

team Help the team to ge l as an effec tive workgroup

Prepare Write a short sta tem ent to set g oa ls and scop e fo r the

session Identify participa nts 4-8 is idea l Fill these roles:

Information Suppliers Informa tion Ac quirers Information Modelers Facilitator Documenter

Sc hed ule & set up worksession fac ility

Perform Kickoff with goa ls and scop e

Get informa tion figuratively and litera lly on the tab leusing b ra insto rming or d iscussion Model the information to c larify, add deta ils, distill

deta ils, and understand relationships Close by summarizing the results, on camera if possible

Doc ument & Communic ate Ca pture mode l with photo and / or movie Doc ume nt a s nec essary Post in pub licly ac c essible p lace Disp lay as a poster

Doc ument models using photos or shorti


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movies

Models c rea ted during c ollabora tive modeling sessions a re mostmeaningful to those who partic ipa ted in their c rea tion

A photo helps viewers rec all the d isc ussion tha t oc c urred a round the

c rea tion of the mod elA short movie where a modeler reviews the model might sta nd in for moreforma l doc umentation

Keep movies less tha n 5 minutes Interview modelers to he lp them remem ber to c ove r a ll the key points

Consumers of the model who d idn t a ttend the modeling session likelyneed more forma l doc umentation


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Card modeling collaboratively improves

communication and builds shared

understanding


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And, its more fun than modeling tools


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Thanks for your attention and participation


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Collaborative

Jeff PattonArchitect, interaction designer,& agile user experience evangelist

[email protected]

www.agileproductdesign.com

As you get yourself situated,

please form yourselves into

working groups of 5-7 people(sit by people who look friendly)

Further Read ing


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Further Read ing

Ambler, Ag ile Modeling , 2002, Wiley & Sons

Gottesd iener, Requirements By Collabora tion, 2002, Ad d ison-Wesley

Tabeka, Co llabora tion Exp la ined , 2006, Ad d ison-Wesley

For the most c urrent version of these slides visit: www.agileproductdesign/presentations

For a rtic les rela ted to c ollabora tive d esign and requirements see:

www.agileproductdesign/writing

For more information on c ollabora tive design a nd requirem ents see:

www.outside-in-development.com

www.collaborative-cardplay.com



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Write a single idea pe r card. Many of the op portunities we have with ca rd modeling come from exploring the rela tionships idea s

have w ith eac h other. We need to ma nipulate idea s indepe ndently. Writing more than one on acard c onnec ts the idea s and takes the opp ortunity with it.

Write large and c lear. The peop le you're c omm unicating with need to b e a ble to read wha t you understood when you

wrote it. You need to b e a ble to read and refer bac k to it la ter in the c onversation, days, or weekslater.

Rip up cards. If an ide a is bad , incorrec t, a c a rd is poo rly written , or cluttered w ith too muc h sc ribb led out a nd

rew ritten text, de stroy it. Bad idea s written on c a rds in co nversations a re dangerous to havehanging a round . Don't you wish you could g et b ad idea s out o f your hea d this ea sily?

Write out loud . As you write, say wha t you're writing. Co llab ora tors will detec t when what you write doesn't m a tc h

wha t you say a nd call you on it. Another strange thing ha pp ens: la ter when you go ba ck to rea dthe c a rd , you'll be ab le to p ic ture a nd hear the pe rson who wrote it and wha t they said a t thetime. Bra ins a re p ret ty interesting rec ording d evices.

Guidelines for c a rd modeling (2 of 3)


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Everyone writes. Make sure stac ks of c a rds and pens a re a va ilab le on the ta b le to a llow

others to write. No need to slow the c onversa tion dow n to the rate thatone p erson can write. Most peop le c an listen to a d isc ussion while w riting.

Allowing othe rs to write turns on othe r pa rts of the ir b ra ins, the ir ta c tileparts, and helps them relate to a nd understand the informa tion b eingd isc ussed . One thing to be a ware o f, lots of p eop le w riting a t the sametime is muc h the same as lots of p eop le ta lking a t the same time. After awhile no one is listening or rea d ing and c ollabora tion stops.

Everyone touc hes c ards. Plac e the c a rds c lose to peop le you're c ollabora ting with so they c an

ea sily rea c h out a nd touc h them, c hange their order, or tea r them updrama tic a lly for effec t, making sure the flying shred s don't put anyone 'seye out. If you're fac ing someone a c ross a tab le, p lac e the c a rds on thetab le so they read right-side-up for that person. Or, even better, c onsidermoving to a c orner position around the tab le so you're sitting to the side o fyour c ollabora tor - that way the c ard c an rea d right-side-up for both ofyou.



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Arrange c ards spatia lly.

Don't let c ards p ile up in meaning less arrangem ents. Try to p lac e them in anarrangem ent tha t ma kes sense. Even if they're simply plac ed in the order they wered iscussed , tha t's bet ter tha n a p ile. Onc e you sta rt a rrang ing you'll find a na tural

tendenc y to let the impo rtance a nd simila rity of idea s influenc e your arrangement.When this happens you get informa tion a lmost for free from the a rrangem ent c hosen.

Model in color.

Use d ifferent c olors of ca rds to rep resent d ifferent kinds of idea s. Add ing color to your

model ad ds another cha nnel of c ommunica tions and another layer of informa tion. Ifyou find an idea written on one c olor of c ard should have been another, rip it up andrew rite it. If you're listening to som eo ne a nd writing down idea s as they spea k them,change c olors as their idea s c hange typ e. They'll ca tc h on.

Plan to p reserve the c ard arrangement.

You c an do this by c overing a tab le top with po ster pa pe r and tap ing the c ardsdown when you're d one. Alternatively use d oub le-stic k tape on the bac k of c ardsand stic k them d irec tly to pa per on the tab le or mounted to a wa ll.



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Illeg ib le cards These c ause the information to be ignored or misunderstood . Think of

illeg ib le c ards as mumb led c onversa tion. Don't do tha t e ither.

Partic ipants are afra id to touch the c ards. If a meeting fac ilita tor is the only one hand ling c a rds then b e c onc erned

your partic ipants a ren't rea lly engaged in the c onve rsa tion. Be c onc ernedthat they d on't rea lly believe what's being written. Be c onc erned that theyhave informa tion they could be sharing b y changing arrangement or texton ca rds, but a ren't. Try to make the environment sa fe to do so b y invitingthem to w rite a c ard or tea r one up. I often p retend to b e b usy withsomething e lse a nd ask them to do so, or invite someone who suggests ac hange o f ca rd positions to do it themselves. Onc e they sta rt, they don'tstop.

Too many c ards Like too ma ny idea s, too ma ny wo rds are ha rd to work with. Consider

narrow ing the sc op e of the c onversa tion or ra ising the abstrac tion leve l tota lk less about deta ils and more a bout genera l c onc ep ts. Use d ifferentc olors of c ards to add more c hannels of c ommunic a tion. Identify focal orkey idea s in the mod el, and annotate the mod el approp ria tely.

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Patton Collaborative Cardplay