GO MAKE MUSEUMS ACCESSIBLE DIGITALLY
Architect Siddhant Shah is an accessibility expert and founder of Access For ALL, an organisation that aims at creating inclusive cultural experiences for all. He is a Global Consultant and is currently the Access Consultant to the British Council India and for the Pradhanmantri Sangrahalaya. He conducted a workshop on how to make online content accessible and inclusive. In the digital age, managing digital content in a way that caters to all is a necessity. Digital accessibility runs across websites, social media in all formats, vlogs, blogs, digital interface, YouTube channels, digital hardware and software.
Here are the key takeaways from the workshop:
Universal Design principles- this lends to the understanding that the design of a museum's digital presence must pay attention to equity, flexibility in use which caters to a diverse audience and must have perceptible and necessary information. There must be a zero tolerance for error to ensure digital safety. Use of size and space must be carefully considered alongside ensuring low physical effort.
Confluence of aesthetics and accessibility - Accessibility must not be seen as a hindrance to aesthetics. It is not meant to be a retrofit but something that should be constantly engaged with and integrated. By being inclusive, aesthetics and accessibility can help create visually appealing content that is compatible with a wider base of users. Recently, FSSAI changed the symbol which signifies non-vegetarian food to a triangle instead of a circle, this helps the visually impaired in identification. Colour contrasts, use of icons, background audio, descriptives amongst others are the way to go to incorporate the aforementioned design principles.
Writing beyond boundaries - Inclusive language is a welcoming and respectful medium which helps to avoid assumptions, biases and prejudices. It gives due weightage to the diversity within society. Museums must use strategies which employ disseminating clear information, avoid complex terminology and try to be as descriptive as possible. One example of the same is the use of ‘alt text’ om social media platforms which allows an alternative text which describes the image to be inputted. While assistive technologies can be used to structure robust content, their viability and accuracy must constantly be put under the lens.
Importance of operability - The interactions must be designed in a manner that they allow users of all capabilities to engage. This includes clearly defined call to action buttons, use of tab keys to ensure easy keyboard navigation and even easy navigation for those who have less dexterity. In museums, tactile interactions are engaging additions. Additionally, various websites are only designed for desktops, professionals must ensure that they cater to the other versions like the mobile view. Museums must understand that instruction triumphs over intuition and encourages accessibility within the museum arena.
Fostering inclusion through representation - No user interface or experience must be designed for someone without them being included in the process. To ensure higher levels of sensitivity, it is imperative that inclusivity in all steps of the process be a prime driving factor. In addition, resources and tool kits must be utilised and if unavailable, outsourcing can be considered. Many times, mentioning what the museum doesn’t have also helps in a number of ways. The audience’s awareness of the provisions allows them to plan and structure their visit accordingly.
The workshop by Siddhant Shah brough essential practices and principles that must be integrated and sustained by museums. The key takeaways delve into the importance of universal design, the tangents of accessibility and aesthetics, inclusivity, and representation. The inclusion of these to advance the museum’s digital presence can foster higher levels of audience engagement.