label

platforms

Linked to 28 items

from: Accessibility and Inclusion (report)

During our session, we reviewed several examples of accessibility considerations within different platforms. First, we examined NPO Start, focusing on features like the “tab” feature, language choices, and the overall framework of web development aimed at accessibility. Specific features discussed included a inclusioncontrast toggle for quiet or dark modes to accommodate users with color blindness and accessibilitylanguage adjustments to avoid using buzzwords (e.g., plus, start, max) that may be unclear to users. Additionally, we looked at issues with medium migration or integration, particularly in challengecombining television with website content, which led to an unclear identity and an overwhelming sense of clutter on the platform’s design choices. Next, we analyzed LI-MA, noting that itsinteresting-practiceorganization by last name alphabetically required users to know precisely what they were searching for, rather than allowing for serendipitous discovery. We also discussed the platformsneed for improved image descriptions to make images more informative rather than merely decorative. These examples highlighted the accessibilityimportance of thoughtful design choices and user-centered approaches in creating accessible digital experiences.
from: Accessibility and Inclusion (report)

The conversation prompts ideas on platformsadaptable platforms that can solutioncustomize content based on individual needs without being overly restrictive like AI-driven solutions that can sometimes stereotype specific needs. Ultimately, the goal is to enhance user experience and foster inclusivity, drawing inspiration from platforms like platformsHet Hem that prioritize user customization and responsive design.
from: Accessibility and Inclusion (report)

Martijn’s group concentrated on identifying and addressing wayfinding and cognitive needs within digital platforms. They recognized that individuals visiting such platforms often have platformsspecific goals in mind, underscoring the reflectionimportance of designing public technology with a user-centric approach. This discussion underscored theaccessibilitysignificance of transparency in translating diverse content into accessible media, emphasizing the need tochallengeset boundaries and recognize our limitations. The group highlighted examples of successful integration of physical and digital spaces, drawing on inclusioncultural spaces in Belgium where a tread goes through the space as illustrative case studies.
from: Accessibility and Inclusion (report)

Jonas’s group explored accessibilityenhancing accessibility through language, emphasizing the role of poetry and user-friendly design in artistic expression. They discussed the challenges posed by challengecomplex and personalized artistic practices(i.e., very personal, constructed and hard to follow), advocating for solutiondifferent entry points and viewing language as a versatile tool for inclusivity. The conversation highlighted the need to platformsbalance simplicity and complexity, embracing plurality and enabling users to switch between modes seamlessly. The group questioned questionwho should take the lead in implementing these approaches.
from: Accessibility and Inclusion (report)

Victor and Florian’s group tackled cognitive accessibility and language considerations, stressing the importance of platformsensuring that digital spaces do not replace physical ones (and the other way around). They drew inspiration from interesting-practiceopen-source technologies and the strong communities backing them. The discussion raised questions about the questiongovernment's role in these initiatives and cautioned opinionagainst reinventing the wheel, pointing to research and examples like the backlash against certain technologies during the COVID-19 pandemic such as the app dedicated to the COVID pass. They agreed on the opinionimportance of equitable compensation for those involved in research and development efforts.
from: Between Utopia and Dystopia (report)

Cultural organizations typically undertake digital projects, often focusing on a single aspect of the DEN focus model. For instance, Playgrounds initially emerged in the “value” quadrant. platformsOriginating in the physical realm with 4,000 participants, it transitioned to an online platform, attracting 40,000 participants from 42 countries. This progression began in the “creating value” quadrant and extended to other quadrants such as process, experience, and creation.
from: Between Utopia and Dystopia (report)

When Lilian questionquestionned about the challenges faced by non-digital organizations, Maaike shed light on several significant issues. She first pointed out the complexities surrounding author rights. Moreover, she emphasized the platformsdifficulty in pinpointing the requisite skills for digital endeavors, often stemming from a lack of clear online objectives. Additionally, Maaike noted a prevailing conservatism in these organizations’ approach to cultural production, where quotetraditional content-driven methods often take precedence over more innovative approaches. quoteThere is a desire for transformation, particularly from the audience perspective. Merely focusing on marketing adaptations falls short of true innovation.
from: Between Utopia and Dystopia (report)

During Bert’s presentation, the central query revolved around questiondefining the nature of a collective, interactive digital space. He posed questions regarding its design and formation: questionshould it be carefully constructed or allowed to organically evolve? Bert emphasized the necessity for traditional organizations to transition into this new digital realm. Conversely, platformsfor the makers present, digital is their natural habitat—a native environment where creativity flourishes effortlessly. Bert highlighted the tendency for interesting-practiceeach cultural institution to develop its own digital platform, leading to fragmentation. While this diversity fosters learning, he questioned whether reflectionresources could be better shared for the benefit of the broader audience. He drew parallels to a shared railway system, suggesting that opinionfragmentation might not be advantageous for the cultural sector or the public at large.
from: Between Utopia and Dystopia (report)
from: Between Utopia and Dystopia (report)

When discussing the type of collective in question, B suggests it opinioncould be undefined, possibly focusing on the Dutch language space. H, on the other hand, sees it as opinioninvolving sharing and collaborative work in various capacities. R proposes a scenario wherein opinionmultiple cultural organizations share a collective space to showcase their work and share audiences. A suggests platformsusing the term "shared" instead of "collective". M agrees, adding that opinionaudiences themselves can be considered as creatives in this shared space.
from: Between Utopia and Dystopia (report)

K expresses belief in the reciprocal structure discussed by Maaike, which involves transferring between different spaces. Maaike emphasizes that platformstraditional organizations transitioning to digital platforms require collaboration with others. A adds that quotethere must be an exchange between the real and virtual realms, advocating for a hybrid approach.
from: Between Utopia and Dystopia (report)

N highlighted the availability of different modes and observed the prevalence of dystopian elements, dystopiaciting examples such as artist Instagrams or portfolio websites. She expressed her perspective that the utopian aspect of are.na isn’t derived from its design, arguing that the design itself isn’t particularly remarkable. Instead, she attributed the appeal of are.na to the creative activities people engage in on the platform. However, she acknowledged that the utopiaplatform does indeed stimulate makers' creativity. Meanwhile, P stressed the platformssignificance of institutions fostering open dialogue and cultivating healthy structures for discussion and feedback.
from: Between Utopia and Dystopia (report)

K expressed concerns regarding the fleeting nature of trendy platforms and pondered reflectionwhether new structures or content are necessary to maintain user interest, noting the platformsneed for continuous new experiences. In response, R metaphorically metaphorquestioned if a new train track is required for every new train, sparking a discussion about the significance of organizational frameworks. G reflected on this discussion by proposing an intriguing concept where interactions within a system, similar to how the color of a train changes based on what’s communicated through a microphone, could mutually influence one another. This idea leads to considering reflectionhow makers could showcase their work within such a system. H contributed to the debate by extending the train track metaphor, noting that the underlying technology has remained largely unchanged for a significant period. This underscores the importance of platformsconsidering foundational elements and the influence of commercial foundations on the resulting products, emphasizing that every element is built upon the initial idea.
from: Between Utopia and Dystopia (report)

The map delves into the needs of the audience, revealing similar answers across different perspectives and uncovering unexpected insights. It highlights a platformspressing need for equality that encompasses older generations. Participants engaged in reflection on the complexities of diversity, expressing a readiness to platformsremove curators and institutions from the process of shaping artistic narratives. They questioned questionhow these dynamics translate to social media platforms, acknowledging the challenges of authenticity within these spaces, where the dystopiaplatform itself often dictates interactions and messages.
from: Between Utopia and Dystopia (report)

G emphasized the importance of utopiausing digital platforms not only to showcase work to new audiences but also as tools for personal development and learning from others across different disciplines. This approach, she suggested, implies a transformation for both individuals and institutions towards a more platformsinclusive and participatory digital landscape resembling a digital Gesamtkunstwerk. She is willing to opinionengage on the long term with people from different backgrounds, thus functioning akin to an institution. However, she acknowledged the dystopiachallenge of building and maintaining long-term engagement with audiences, particularly from a designer's perspective.
from: Between Utopia and Dystopia (report)

K emphasized the importance of platformsmaintaining a manageable scale to facilitate interaction among makers within digital spaces, viewing them as fertile ground for creativity. Angelique highlighted the platformsneed for platforms to adapt and respond to audience interactions dynamically, offering varying experiences based on user activity. H underscored the significance of platformsmaintenance in digital applications, often overlooked in their development.
from: Between Utopia and Dystopia (report)

Ultimately, Angelique emphasized the platformsdual role of digital platforms as public-facing examples for audiences and as platforms for makers, highlighting the importance of red threadcreating spaces that foster interaction and engagement for both parties.
from: Digital Space is... (report)

Bianca suggested using spaces in new, creative ways while sharing resources and interesting-practicebuilding bridges between platforms, people, and communities. Kay asked if this approach would require a larger audience, and Bianca affirmed, emphasizing the need to invite more people. Karl highlighted the opinionimportance of access to mentorship and orientation. He noted that interesting-practicenot being on social media excludes him from many things, so a more connected network of individual websites or spaces could foster independence and collaboration outside social media. Existing tools like newsletters are a start, but better platformsinfrastructure and protocols are needed to connect people sustainably, especially considering the potential decline of major platforms like Meta.