Method card design dimensions: a survey of card-based design tools <s> Design Dimensions <s> Grounded theory is a qualitative research approach that uses inductive analysis as a principal technique. Yet, researchers who embrace this approach often use sensitizing concepts to guide their analysis. In this article, the author examines the relationship between sensitizing concepts and grounded theory. Furthermore, he illustrates the application of sensitizing concepts in a study of community-based antipoverty projects in Jamaica. The article contains commentary about trustworthiness techniques, the coding process, and the constant comparative method of analysis, as well as a synopsis of study findings. <s> BIB001 </s> Method card design dimensions: a survey of card-based design tools <s> Design Dimensions <s> In this paper we start from the position that sources of inspiration play an important role in the design process albeit in a frequently intangible way. We present the Inspiration Card Workshop as a collaborative method for combining findings from domain studies, represented in Domain Cards, with sources of inspiration from applications of technology, represented in Technology Cards, to create new concepts for design. We report our findings from three projects in which we have used the method and argue that the use of Inspiration Cards can successfully frame and guide workshops with disparate participants and bring various sources of inspiration into the design process. We furthermore compare the method to four related methods in the design process, namely Future Workshops, Metaphorical Design, Interaction Relabelling and Lateral Thinking. <s> BIB002 </s> Method card design dimensions: a survey of card-based design tools <s> Design Dimensions <s> Alfred Hermida recently posited ‘ambient journalism’ as a new framework for para- and professional journalists, who use social networks like Twitter for story sources, and as a news delivery platform. Beginning with this framework, this article explores the following questions: How does Hermida define ‘ambient journalism’ and what is its significance? Are there alternative definitions? What lessons do current platforms provide for the design of future, real-time platforms that ‘ambient journalists’ might use? What lessons does the work of Brian Eno provide–the musician and producer who coined the term ‘ambient music’ over three decades ago? ::: My aim here is to formulate an alternative definition of ambient journalism that emphasises craft, skills acquisition, and the mental models of professional journalists, which are the foundations more generally for journalism practices. Rather than Hermida’s participatory media context I emphasise ‘institutional adaptiveness’: how journalists and newsrooms in media institutions rely on craft and skills, and how emerging platforms can augment these foundations, rather than replace them. <s> BIB003 </s> Method card design dimensions: a survey of card-based design tools <s> Design Dimensions <s> In the context of an initiative to empower non-expert practitioners to perform sound design in games, we have been working on a collection of design patterns and in a deck of cards that function as tokens to those patterns. The deck serves both practitioners and researchers. Practitioners may appreciate a presentation of potential sound explorations in a format that is literally handy, with no need to be familiar with the formalism of design patterns. Researchers who are willing to evolve such patterns may explore the usage of cards as part of a setting designed to be auditable. This paper presents the results of a first experiment with the deck in a scenario of a game design session. The goal is to evidence information supporting foremost enhancements to the deck itself, to the process in which it has being explored and audited, and to the inscribed collection of patterns. <s> BIB004 </s> Method card design dimensions: a survey of card-based design tools <s> Design Dimensions <s> This paper reports findings from a series of participatory design workshops with ten people over eighty years old. The focus of the workshops was new banking technologies for the older old. Participants were asked to discuss their current experiences of banking and given packs of concept cards which contained design sketches and brief outlines of concepts for new financial services. The designs on the cards were deliberately provocative and aimed to encourage criticism and debate. Participants wrote and drew on the cards and the workshops were recorded and transcribed. The participants were extremely critical of current banking practices and most of the new concepts we presented to them. Their questions and comments led to a number of insights and further iterations. The paper argues that critique is an essential resource for design, both in terms of identifying problems and iterating ideas. <s> BIB005
As stated previously, our aims in defining the five dimensions-and graduations within the dimensions-are in revealing key differences across the examples including: 1) Intended Purpose & Scope, 2) Duration of use and placement in design process, 3) System or Methodology of use, 4) Customization, and 5) Formal Qualities. These attributes describe claims from the literature of the authors, the formal characteristics, and the tools in use. While these may seem closely related, it is an initial step in developing a framework for discussing the design attributes in card-based tools. Graduations within these dimensions were chosen to differentiate the examples-future work is needed, however to validate and develop these further. Intended purpose & Scope. Based on research literature or from booklets and inserts included in the card packages, the respective authors have made claims as to where their tools fit within the design process (ideation, inspiration, engaging non-designers, etc.). In this category we can ask: where in the design process are the cards used and how should they be used? Do they have a specific purpose and do they focus on a particular context? We identified three graduations of intended purpose & scope, ranging from very general to context specific. General/Repository card systems provide inspiration and challenge designers to take another point of view. An example here are the Oblique Cards  BIB003 , which can be engaged with at any time in any context to increase lateral thinking and stimulate design problem solving in general. These types of cards aim for open-ended inspiration with little or no guidance on their use. These cards mainly function as repositories for design methods, capturing well-known methods from important literature  and offload the task of remembering the many design methods. We also found various examples of cards, which focus on participatory design. They seek to develop sensitivity and empathy BIB001 for the context, and engage designers and users in the process. Some cards are designed for a better communication between users and designers, examples here are the Questionable Concept Cards BIB005 , which encourage criticism and debate or the Inspiration Cards BIB002 that require collaborative work between designers and domain experts using the cards. There are also context specific/ agenda-driven examples. This includes those cards focused on a particular context or design agenda as the Sound Design Deck BIB004 , which facilitates sound design in games or the Design Play Cards  , which focus on designing for sustainability.