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from: Accessibility and Inclusion (report)

Alicia introduces a critical definition of “disabilities,” emphasizing the quoteimpact of design on diverse needs, considering factors such as the increasing numbers of people with disabilities and age-related disabilities, which can be permanent, temporary, or situational. Accessibility entails accessibilitybreaking the cycle of inaccessibility by making information, activities, and environments sensible, meaningful, and usable. It involves solutionincluding people with disabilities in every step of the process, fostering independence, and solutiontaking responsibility rather than assuming what it's like to have a disability. quoteDesign should cater to specific needs.
from: Accessibility and Inclusion (report)

Leah asked Alicia, “questionWhere have you felt most and least cared for in terms of accessibility?” Alicia shared her experiences, noting that opinionshe felt least accommodated at the Eye Museum initially, but later was photographed and shown. On the other hand, opinionAlicia felt most accommodated at the ZieZo Beurs conference. She argues that quotethe concept of being accommodating is also reflected in one's mindset.
from: Accessibility and Inclusion (report)

Additionally, quotewe emphasize the need for environmentally conscious design and advocate for government responsibility in providing equitable access, both physically and digitally.
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)

Bert van Loon, with a background in publishing, asserted during his introduction that quoteinnovation primarily stems from individual efforts. He took as an example the attic room inventors.
from: Between Utopia and Dystopia (report)
from: Between Utopia and Dystopia (report)

From the perspective of makers,quotethey are actively engaged in navigating these market dynamics, collaborating with initiatives like Playgrounds. Their forthcoming insights, expectations, desires, and needs are anticipated, reflecting their experiences and endeavors within this ever-evolving digital landscape.
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)

K highlighted opinionanonymity as a challenge, acknowledging that while anonymity may not always be an optimistic act, he values the concept itself differently as a consumer and a maker. quoteMakers want to be known.
from: Digital Space is... (report)

Florian highlighted that the desireplatform's value lies in increasing the time makers spend together, whether online or offline. Lilian questioned the necessity of assigning roles, suggesting these inquiries were personal. Lea proposed agreeing on the intent behind these questions beforehand. Florian clarified that quotethe goal was not to make everyone digital natives but informed users, emphasizing the need to prioritize questions and determine the direction of the discussion.
from: Digital Space is... (report)

The group crafted questions to engage the audience in reflecting on digital culture, asking: “questionWhat was your first encounter with the digital, and how did this experience change your life?” Participants shared diverse responses: Soyun mentioned a video game, Lea discussed how it influenced her perception of technology, Angelique described shifting from paper to a computer, which allowed her to manage notes more efficiently, and Pernilla from DEN recalled making a color book on the screen and printing it on a large plotting machine, transitioning from digital back to physical. These responses illustrated the multifaceted nature of digital engagement and experience. The second question was, “questionHow do you see the role of the government compared to market-driven consumption in the digital realm?” Here, opinions varied: Angelique noted that the government can support what the market neglects, though this could have negative aspects, while Florian pointed out that government reforms can inform market behavior. The discussion highlighted a recurring debate about the roles of public versus private sectors. DEN, acting as an NGO, aims to drive digital innovation in a culturally resistant sector. quoteThe government often funds initiatives to spur future-oriented possibilities, illustrated by the Ministry of Culture commissioning DEN to brainstorm a platform for makers. This approach provides a safer path for the ministry, which is not typically geared towards long-term innovation. interesting-practiceDespite ample funding for culture, the Netherlands still faces challenges in balancing innovation within this sector.
from: index (pad)

quote"More and more cultural institutions and creators are initiating a digital transformation. To do this successfully, an institution also needs an environment that encourages and advances this fundamentally different way of working. " — Maaike Verberk, director DEN.
from: Interactivity: the 7 scenarios of digital culture (report)

Bianca, Karl, and Florian envision a solutionfoundation where various scenarios can converge and contribute, creating a robust support system for makers. This foundation would serve as a bedrock for other initiatives, fostering a collaborative environment. The implementation of this foundation would involve a desirecoalition of cultural organizations, tech companies committed to ethical practices, and government bodies. To ensure the foundation is free and intentional, substantial funding from grants, public funds, and private donations would be required. solutionPartnerships with educational institutions and tech companies could also provide resources and expertise. A key feature of this foundation would be an desireon-site assistance team, a dedicated desk offering personalized help to makers, guiding them in transforming their ideas into tangible products or services. This team would provide accessibilityethical, free expertise, including suggestions and proposals around accessibility, self-hosting, and open-source software. Establishing clear protocols on accessibility would be essential, accessibilityensuring that all digital products and services are accessible to everyone. Inspired by the Belgian system, where interesting-practiceorganizations in Flanders can earn a special stamp if they meet specific criteria such as inclusivity (as Karl noted) and receive assistance in digitizing makers’ collections (as Hay added), users could subscribe to these protocols to receive both guidance and potential funding. Rather than centralizing everything on one platform, solutionthe foundation would operate through a network of fragmented yet interconnected services. This approach resembles a library or social service for digital culture, offering practical support to organizations at no cost. Starting from a more theoretical standpoint, quotethe foundation highlights the current lack of assistance for makers and proposes a more ethical and free support system.
from: Interactivity: the 7 scenarios of digital culture (report)

Martina, Hay, Lea, and Filipp conceptualize a scenario where events take place weekly or monthly in various locations, such as cafes, providing solutionspaces for discussion and a means to discover new speakers for events. This format could eventually evolve into a more extensive infrastructure. The scenario emphasizes hybridity, aiming to desirecreate holistic connections between physical and digital spaces, which would help sustain the format. solutionEvents would be archived and tagged to facilitate finding people with similar mindsets and goals.To ensure accessibility and inclusivity, each month could feature a inclusiondifferent theme, targeting diverse audiences and prioritizing connections over backgrounds. The concept would be standardized to maintain a consistent atmosphere across different times and locations, requiring hosts, moderators, and facilitators to manage the events. Rather than being owned by a single organization, this format focuses on groups of people coming together. The hierarchy within this scenario would be centered around the role of the moderator, with organizations responsible for the moderators representing them in these events. This model could be compared to the Tegenlicht meetups, which also emphasize connections and successful elements from existing formats. The scenario supports a solutionmultimodal approach, catering to various visions, publics, and audiences, and desireblurring the lines between audience and contributor. To elaborate on the shared reality of digital and physical spaces, a starter pack could be provided to help set up the initial events, allowing for growth through a connected web or network. quoteThis would address the challenge makers face when organizing events, particularly the difficulty in finding infrastructure.
from: Interactivity: the 7 scenarios of digital culture (report)

The scenario explores how artists can desiremeet and crossover in new online forms. Hermen, Genevra, Anania, and Kaan suggest that different ways to navigate the platform would cater to various modalities of institutions, makers, and visitors, utilizing combinations of text and images. solutionVisitors could publicly suggest matches between institutions and artists in a non-formal, barrier-free environment where everyone can playfully initiate interactions without fixed positions. Events would be organized by inclusionthemes and strengths, encouraging crossovers of different mediums. opinionThere is a noted lack of surprise in navigating digital platforms, prompting consideration of the opportunities presented by “mistakes.” This element of purposeful randomness could be interesting-practiceinspired by the dating app format, introducing serendipitous encounters similar to the “I’m feeling lucky” button. To maintain a dynamic and engaging experience, moderators in this scenario would function like cupids, facilitating matches and interactions. Lea highlighted that this system would push people to solutiontake action and assume responsibility seamlessly, akin to a poke system that requires no commitment. The challenge remains to challengeensure a diverse audience participates. quoteThis approach could reinvigorate organizations that might be experiencing boredom with traditional methods, offering a hierarchy-flattening experience and encouraging spontaneous, playful connections.
from: Interactivity: the 7 scenarios of digital culture (report)

Nadia, Sondi, and Martijn explore the boundaries of online meeting spaces, considering how to connect people across different geographies and link cultural and non-cultural spaces to initiatives and ideas. They aim to facilitate digital connections that go beyond local bubbles, addressing the need to desirereach wider audiencesrather than just friends of friends. This scenario envisions solutionindexing spaces available for makers, allowing them to step outside their familiar circles and discover new cultural hubs. To achieve this, they propose an indexing platform where people can easily find cultural resources and spaces, thus desiresharing dormant resources with minimal effort. This approach can accessibilityhelp institutions reach new audiences by connecting with small initiatives through digital means. Florian suggested that such a platform could serve as an interesting case study, given the disappearance of small grassroots initiatives in Dutch culture over the past 20 years. Meanwhile, Lilian emphasized the importance of questioning reflectionwhether these connections should remain purely digital or adopt a hybrid model. Additionally, Martijn noted that this scenario challenges organizations to challengereconsider their role within the cultural scene. Hay further highlighted the value of DIY efforts and the necessity ofdesireallowing space for trial and error, as the current emphasis on professionalism leaves little room for experimentation and failure. Building on this, Florian pointed out the challengedifficulty unknown makers face in finding venues to showcase their work due to the many layers within the cultural sector. In response, Angelique added that challengeinstitutions also struggle to present unknown makers. Finally, Sondi stressed the desireneed for connections that benefit not just the well-known makers but also those who are emerging or lesser-known. quoteThis scenario offers a simple methodology for opening up cultural spaces and connecting diverse initiatives through digital means, helping both institutions and makers broaden their reach and impact within the cultural landscape.
from: Interactivity: the 7 scenarios of digital culture (report)

Lilian emphasizes that as digital makers, they are inclined to experiment with various tools and technologies, having grown up as digital natives. quoteThey represent the "innovators" percentage, contrasting with DEN's majority perspective. TNO, in collaboration with DEN, has conducted previous research on digital transformation, interviewing institutions (such as MU) to highlight motivations such as inclusivity, diversity, and the facilitation of new cultural experiences. One participant raises a valid concern regarding the research potentially reflecting a concerndated mentality, akin to a mindset prevalent in the 90s. They draw attention to the reflectionassociation of technology in the cultural sector with the stereotype of the "IT guys", highlighting the need to address this issue with DEN. This association not only perpetuates gatekeeper culture but also underscores the inclusionimportance of challenging outdated perceptions and promoting inclusivity in digital spaces.