Usability has come a long way since the dark days before "Designing with Web Standards". Now nearly all companies see the value of UX in their digital designs. But despite heightened focus on the user and a growing awareness of accessibility concerns, implementation of accessibility standards have often fallen victim to time pressures and obsolete design practices. Disabled users struggle through sites missing alt tags, keyboard inputs or text alternatives. Enter devices like the iPhone & Android … and the iPad.
With the proliferation of non-desktop devices and browsers like tablets and gestural smartphones, suddenly more people are finding that the web isn't as nice and clean as they remembered: broken formatting, too small text, hover functionality that doesn’t work, and entire swaths of the web rendered as Flash-based wastelands that millions can’t access.
We've now discovered that by solving for many of the issues that iOS and other mobile users face, we can also solve for the most prevalent accessibility issues. Using side-by-side examples and case studies, I'll show how we can make sites more accessible and more usable by mobile devices. Through combinations of better markup, HTML5 and CSS3 functionality and better scripting, we can serve two masters at once. Better yet, in some cases, we can take advantage of the accessibility capabilities built into newer mobile devices to make the digital experience even better than they would get on the 'old web'.
by Matthew Cohen, Jeff Blagg, Rafael Ruiz and Lowell Bartholomee
With the release of Holy Hell, the first movie to premiere as a Ipad App, a new distribution frontier opens up for independent filmmakers. As a new business model of DIY cinema, the app suggests a new model for release, serializing the movie in distinct chapters that include additional Transmedia bonus materials. The filmmakers (Rafael Antonio Ruiz and Lowell Bartholomee and programmer Jeff Blagg) document the intricate production process involved in adapting their film to this emerging format as well as how the app also opens up new narrative strategies, creating a new business model for cinematic material.
9th–13th March 2012