Using Card Sorting to Design Faceted Navigation Structures

This paper describes how a variation of card sorting- ‘repeated single-criterion sorting’, can be applied to the information architecture design of digital music services. 52 respondents were asked to sort, using their own choice of criteria, 12 popular songs using an online card sorting tool. Once respondents had chosen a construct for a particular sort, e.g. “Genre”, they placed each card into a named category, e.g. “Rock”, “Pop”, and were encouraged to repeat this process until they could think of no more constructs. High levels of agreement were found for a small number of constructs such as “genre”, “gender”, and “speed of song” but the remaining constructs were individual to each respondent, e.g. “songs that make me cry”. The results highlighted differences with current approaches to music categorisation, as well as the potential for repeated single-criterion sorting to be used to design faceted navigation structures.

Content

Author and article information

Contributors

Ed de Quincey

James Mitchell

Conference

Publication date: July 2021

Publication date (Print): July 2021

Pages: 246-255

Affiliations

[0001]School of Computing and Mathematics

Keele University

Article

DOI: 10.14236/ewic/HCI2021.26

SO-VID: 2b529c43-0303-4d72-a9f8-b62e57265a59

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: 34th British HCI Conference

Conference acronym: HCI2021

Conference number: 34

Conference location: London, UK

Conference date: 20th - 21st July 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Post-pandemic HCI – Living Digitally

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/HCI2021.26

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

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Comments

Comment on this article

[1] J.J. Aucouturier & F. Pachet (2003). Representing musical genre: A state of the art. Journal of New Music Research, 32,1: 83-93.

[2] O. Ben-Yitzhak, N. Golbandi, N. Har'El, R. Lempel, A. Neumann, S. Ofek-Koifman, D. Sheinwald, E. Shekita, B. Sznajder & S. Yogev (2008). Beyond basic faceted search. In Proceedings of the international conference on Web search and web data mining, 33-44.

[3] N. Bevan (2003). UsabilityNet methods for user centred design. Human-Computer Interaction: theory and Practice 1. APA.

[4] B. Cassidy, S. Saurabh Antani & J. Read (2013). Using an open card sort with children to categorize games in a mobile phone application store. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '13). ACM, New York, NY, USA, 2287-2290.

[5] C. Courage & K. Baxter (2005). Understanding your users: a practical guide to user requirements: methods, tools, and techniques. San Francisco, CA: Morgan Kaufmann Publishers.

[6] E. de Quincey (2010). Software support for comparison of media across domains. Ph.D. Dissertation, Keele University, UK.

[7] K. Deibel, R. Anderson & R. Anderson (2005). Using edit distance to analyze card sorts. Expert Systems, 22,3: 129-138.

[8] T. DeNora (2000). Music in everyday life. Cambridge: Cambridge University Press.

[9] K. Frederickson-Mele (1997). Usability Testing an Intranet Prototype Shell: A Case Study. In Proceedings of SIGCHI 1997.

[10] J.G. Gammack (1987). Different Techniques and Different Aspects of Declarative Knowledge. In Knowledqe Acquisition for Expert Systems. New York: Plenum Press, 137-163.

[11] S. Gerrard & J. Dickinson (2005). Women's working wardrobes: a study using card sorts. Expert Systems, 22,3: 108-114.

[12] S. Golder & B. Huberman (2005). The structure of collaborative tagging systems. HP Labs Technical Report.

[13] A. Greasley & A. Lamont (2006). Music preference in adulthood: Why do we like the music we do. In Proceedings of the 9th International Conference on Music Perception and Cognition.

[14] W. Hudson (2014). Card sorting for navigation design. In CHI '14 Extended Abstracts on Human Factors in Computing Systems (CHI EA '14). ACM, New York, NY, USA, 1007-1008.

[15] J. Joyce (2006). Pandora and the Music Genome Project. Scientific Computing, 23,10: 40-1.

[16] M. Kipp (2007). @toread and cool: Tagging for time, task and emotion. In Proceedings Information Architecture Summit 2007.

[17] M. Kipp & D.G. Campbell (2006). Patterns and inconsistencies in collaborative tagging systems: An examination of tagging practices. In Proceedings of the American Society for Information Science and Technology, 43,1.

[18] S. Lippens, J-P. Martens, & T. De Mulder (2004). A comparison of human and automatic musical genre classification. In Proceedings of IEEE International Conference on Acoustics, Speech, and Signal Processing, 2004 (ICASSP'04), 4.

[19] N. Maiden (2009). Card Sorts to Acquire Requirements. IEEE Software, 26,3: 85-86.

[20] G. Martine & G. Rugg (2005). That site looks 88.46% familiar: quantifying similarity of Web page design. Expert Systems, 22,3: 115-120.

[21] C. McKay (2010). Automatic music classification with jMIR. Ph.D. Dissertation, McGill University, Canada.

[22] Y. Nakhimovsky, R. Schusteritsch & K. Rodden (2006). Scaling the card sort method to over 500 items: restructuring the Google AdWords help center. In CHI '06 Extended Abstracts on Human Factors in Computing Systems (CHI EA '06). ACM, New York, NY, USA, 183-188.

[23] J. Nielsen (1992). The usability engineering life cycle. Computer, 25,3: 12-22.

[24] J. Nielsen & R. Molich (1990). Heuristic evaluation of user interfaces. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems: Empowering People (CHI '90). ACM, New York, NY, USA, 249-256.

[25] A.C. North, D.J. Hargreaves & S.A. O'Neill (2000). The importance of music to adolescents. British Journal of Educational Psychology, 70,2: 255-272.

[26] D. O’Neill (2013).Retrieved September 16, 2016, from http://id3.org/

[27] F. Pachet & D. Cazaly (2000). A taxonomy of musical genres. In Proceedings of Content- Based Multimedia Information Access (RIAO), 1238-1245.

[28] S.R. Ranganathan (1962). Elements of library classification. Bombay: Asia Publishing House.

[29] G. RuggC. Corbridge, N. Major & A. Burton (1992). A comparison of sorting techniques in knowledge acquisition. Knowledge Acquisition, 4,3: 279-291.

[30] G. Rugg & P. McGeorge (1997). The sorting techniques: a tutorial paper on card sorts, picture sorts and item sorts. Expert Systems, 14,2: 80-93.

[31] K. Sanders, S. FincherD. Bouvier, G. Lewandowski, B. Morrison, L. Murphy, M. Petreet al. (2005). A multi-institutional, multinational study of programming concepts using card sort data. Expert Systems, 22,3: 121-128.

[32] E. Scheirer (1998). Tempo and beat analysis of acoustic musical signals. The Journal of the Acoustical Society of America, 103,1: 588-601.

[33] J. Sloboda, S.A. O'Neill & A. Ivaldi (2001). Functions of music in everyday life: An exploratory using the experience sampling method. Musicae Scientiae, 5,1: 9-32.

[34] D. Spencer & T. Warfel (2009). Card Sorting: A Definitive Guide. Retrieved January 18, 2016, from http://www.boxesandarrows.com/view/card_sorting_a_definitive_guide.

[35] T. Tullis (1985). Designing a menu-based interface to an operating system. ACM SIGCHI Bulletin, 16,4: 79-84.

[36] T. Tullis (2003). Using Card-sorting Techniques to Organize Your Intranet. Intranet Journal of Strategy and Management, March 2003.

[37] T. Tullis & L. Wood (2004). How Many Users Are Enough for a Card-Sorting Study? In Proceedings of the UPA 2004 Conference, Minneapolis, MN, USA. Jun-2004.

[38] L. Upchurch, G. Rugg & B. Kitchenham (2001). Using card sorts to elicit web page quality attributes. IEEE Software, 18,4: 84-9.

[39] Usability.gov. (N.D.). User-Centered Design Process Map. Retrieved September 16, 2016, from http://www.usability.gov/how-to-and-tools/resources/ucd-map.html.

[40] C. Wharton, J. Rieman, C. Lewis & P. Polson (1994). The cognitive walkthrough method: A practitioner's guide. In Usability Inspection Methods, J. Nielsen and R. L. Mack, eds. New York, NY: John Wiley & Sons, 105-140

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