by Lisa-Marie Koenig -

Impulse 3 – Reading Literature

My deeper dive into the literatur i gathered in the previous posts. I evaluated the different types and information.

A. Wikipedia Articles: Evaluation

Wikipedia Article on Mulesing:

This article is a good example as it is concise yet to the point, featuring an impressive number of citations in the references. It provides factual and informative content about the term.

Wikipedia Article on Wool Seals:

This article serves as a poor example due to its brevity and lack of sources. It fails to provide comprehensive information on this broader topic, omitting many wool seals that could enrich the content.

B. Evaluation of Two Selected Books and the Journal Article

Book: Sheep Veterinary Practice

This book addresses all aspects of sheep husbandry, focusing on medical aspects. The author is recognized as one of the few experts with extensive knowledge in this field. Many sections are irrelevant to my work, as they delve deeply into sheep health and care. However, the chapter Welfare of Sheep, specifically the section on Mulesing, is highly relevant. It discusses the general process, pros and cons, and the necessity of mulesing. Thus, I primarily refer to this section.

The text is highly scientific yet accessible, thanks to detailed explanations, making complex topics comprehensible even for laypeople.

Questions for this Section: (Page 25, Chapter 2.4 – Animal Welfare: 2.4.3 Mulesing)

  1. How does mulesing work, and why is it used?
    • Answer: Mulesing involves removing skin folds to reduce the risk of flystrike, especially in Merino sheep, which have more folds and are thus more vulnerable to parasite infestations.
  2. Are there alternatives to mulesing?
    • Answer: Alternatives include genetic breeding programs for plain-bodied sheep and the use of anesthetics or sedatives, though these methods vary in effectiveness and feasibility.
  3. Is mulesing justifiable in terms of animal welfare?
    • Answer: While effective at preventing flystrike, mulesing is a painful procedure. The text suggests long-term solutions such as breeding plain-bodied sheep as a more sustainable and humane approach.

Article: New Zealand Wool Inside: A Discussion Case Study

This case study from the International Food and Agribusiness Management Review examines the challenges and strategies of New Zealand wool farmers facing declining wool prices and competition from synthetic fibers. It analyzes branding strategies of three key companies – Elders Primary Wool, Wool Services International, and Wool Partners International – highlighting their efforts to maintain market value through transparency, sustainability, and quality controls.

The article reveals the financial risks of branding for farmers while discussing uncertainties in branding raw materials like wool. This analysis provides valuable insights for strategic decision-making in the wool industry, offering guidance to farmers balancing traditional and innovative marketing approaches.

Questions for the Article:

  1. How does branding affect the market value of wool?
    • Answer: Branding enhances market value by differentiating wool based on quality, sustainability, and transparency, appealing to niche markets.
  2. Do farmers influence the market output, or is it determined by companies?
    • Answer: Companies have more influence over market output due to their control over branding and market strategies, although farmers play a role in maintaining wool quality.

Author Evaluation and Text Structure:

The authors, a mix of professors from Massey University’s agribusiness and nutrition departments and a student, are credible experts in the field. The text is well-structured, beginning with industry context and transitioning to branding strategies, market opportunities, and decision-making. While the article is clear and analytical, it leans heavily on economic perspectives, which limits its appeal from a designer’s standpoint.

E-Book: Local, Slow and Sustainable Fashion: Wool as a Fabric for Change

Authors Ingun Grimstad Klepp and Tone Skårdal Tobiasson explore the ecological and cultural significance of wool in sustainable fashion, offering insights into local wool production and its potential to drive change. The book is divided into well-structured chapters, allowing readers to focus on specific topics independently while also presenting a cohesive narrative when read in full.

The text is detailed and technically dense, with explanations and a glossary ensuring accessibility. Particularly valuable are chapters on waste reduction, local wool value chains, and innovative economic approaches for sustainable textile usage.

Focus on Chapter 2: The Fate of Natural Fibres in Environmental Evaluations: A Question of Volume

Questions for the Chapter:

  1. What challenges exist in evaluating the environmental impact of natural fibers like wool?
    • Answer: Challenges include measuring the complete lifecycle impact of wool production and the volumes required compared to synthetic alternatives.
  2. Is using natural fibers always better for clothing production, or are there downsides?
    • Answer: While natural fibers are more sustainable in many contexts, their production can be resource-intensive, and synthetic fibers may sometimes outperform them in durability and cost-effectiveness.

Author Evaluation and Text Structure:

The diverse background of the authors, combining academics and practitioners, enriches the text with varied perspectives. The book’s scientific yet accessible tone makes it a useful resource for professionals and students in sustainable fashion and textile production. It will serve as a strong foundation for my research, particularly in exploring wool’s role in sustainable fashion.

C. Excerpt: Concrete Questions from One Text

Bibliographic Details:

  • Abbott, Kym A. Sheep Veterinary Practice. 1st Edition. Boca Raton: CRC Press, 2024, Chapter 2, Page 25.

Excerpt from Chapter 2: Mulesing

The chapter examines the controversial mulesing procedure, commonly used on Merino sheep, to reduce the risk of flystrike. It discusses the painful nature of the practice and its ethical implications while considering alternative methods such as selective breeding and genetic modification to create plain-bodied sheep.

Key Takeaways:

  • Mulesing effectively prevents flystrike but raises significant animal welfare concerns.
  • The long-term solution lies in breeding programs aimed at eliminating the need for mulesing altogether.

Key Questions and Answers:

  1. How does mulesing address flystrike?
    • By removing skin folds that attract flies, reducing their habitat.
  2. What alternatives exist to mulesing?
    • Breeding programs for plain-bodied sheep and potential genetic modifications.
  3. What ethical challenges does mulesing pose?
    • The procedure causes significant pain, sparking debate over its necessity versus animal welfare.

This structured note-taking will allow easy reference for my master’s thesis without re-reading the text.

by lucas.nuss -

Impulse 01 // Klanglicht

Over the past two semesters of researching Calm Technology, I have begun to focus more and more on Human-Computer Interaction (HCI) and how to align it with the principles of Calm Technology to combat the negative effects of the digitalisation of our environment. My goal is to create or change the converter of digital interactions to make them materialise the digital in a more natural way. In my opinion, this can only be done by changing the way, mode and nature of the interactions we currently have with the digital world. So I will try to get impulses in different human-computer interactions and how a calmer materialisation of the digital can be achieved. My first impulse for this is the Klanglicht festival in Graz, as it also partly explores ways of communicating complex information, feelings or stories with the reduced methods of only using sound and light. This happened from two perspectives, one as a visitor and one as a participant in the installation Spektrum of the FH Joanneum.

Klanglicht

From the perspective of a visitor to Klanglicht, it was interesting to see in how many different ways different artists were able to communicate or convey sometimes quite complex stories, emotions or meanings without using traditional storytelling media such as screen or spoken or written text. Only by using sound, light and in some cases movement were they able to convey all this in a clear way. This was achieved by abstracting all the elements of communication between the installation and the visitor and placing them in the right context. Calm Technology aims to do just that, moving away from attention-grabbing push notifications and messages to more natural and contextual interactions that are less overwhelming for the user. This can be achieved by using movement or lights in the periphery of the vision, or by using sounds that convey secondary information in context. This was demonstrated in a more artistic but nonetheless true way by the projects exhibited at Klanglicht. One installation called ENDERS / surface by Boris Acket was particularly inspiring on this theme. The way in which he achieved an almost natural and very calming environment using only fairly technical elements such as motors and stage lighting, and using these elements to create an interplay of shadow and light with subtle movement, was an impressive example of how technology can be used to create something calm and detached from its digital parts. The unpredictable but harmonious movement of the fabric mirrors natural phenomena such as the ripple of water or the wind through grass, creating a sense of calm and connection with the environment. The mirroring of familiar, natural patterns can be a key factor in making human-computer interactions more ambient and enjoyable. By orienting these interactions around the rhythms and behaviours of our natural world, rather than the rigid structures of digital systems, we can create ambient interaction that feel more intuitive and calming. By using our learned understanding of natural behaviours instead of us having to learn new and unnatural patterns and behaviours.

EINDER / surface from Boris Acket

Langnicht

As participants the impulse of Klanglicht was more practical than as visitors. Together with all four majors of our study programme (Communication, Media, Sound & Interaction) we had the opportunity to realise our own sound & light installation under the theme Spektrum in the Antoniuskirche in Graz. The first challenge was to set up the installation inside the church, where we were not allowed to change anything and everything had to be self-supporting as the building is a listed building. But after a few rounds of trial and error and many hours of work, we managed to create a rather impressive and complex installation. As shown in the video below. This first challenge taught me a lot about how to structure projects, how to prioritise tasks and that the more work you do in the background, the smoother and better the experience at the front. The second challenge was to create a three-minute sound and light show to be played on the installation, now in smaller interdisciplinary groups of 5-6 students. Our chosen story for this show was the specter of nature and technology, how they contradict each other, but can also find common ground in a utopian solar punk vision. To convey this message we had only the medium of spatial sound and the construction of LED pixel rails with individual LED dots rather than an LED screen. The learning experience here was how to abstract a message so that it would only work if you heard sounds and saw light dots glowing in an abstract pattern, without losing any of its meaning. In the end, as you can see in the teaser below, we achieved this in some way. This showed me how difficult or much work it is to reduce interaction elements without losing information or meaning in the process. It ended up being a very relevant exercise for me. Because in order to make interactions more ambient, they should follow this abstraction theme.

© Max Kathan

by helene.goedl -

IMPULSE #5 | Exhibition Visit: “Touch & Feel”

From the 10th to the 27th of October 2024, the re:pair festival took place at the MQ Vienna. During the festival, many activities and events took place, all revolving around the topic of repairing and fixing anything from appliances to bicycles, from musical instruments to furniture and, most importantly for me – clothes.

   “The third edition of the re:pair FESTIVAL will take place from October 10 to 27, 2024, with the festival headquarters located in the MuseumsQuartier.

This year’s re:pair FESTIVAL program offers an exciting mix of practice and theory with over 120 events. A variety of workshops will teach creative skills and the joy of repairing. Knowledge will be shared through lectures, ambulances, walks and two exhibitions.

To make the festival accessible to everyone, admission to most events is free.

Repair is an important tool in the fight against the climate crisis. Repair allows for more efficient use of products and more careful use of our resources. And it is easy to integrate into everyday life. Repair is cheap, fun, creative, and empowering.”1

Although I unfortunately missed most of the festival due to sickness and schedule conflicts, I managed to visit one of the exhibitions which was part of the program. The exhibition – curated by Tina Zickler – dealt with the quality of materials in fashion and emphasised the touch aspect of traditional natural materials versus modern materials. The title of the exhibition “Touch & Feel – Quality in Fashion” reflects this.

About the Exhibition “Touch & Feel”

“If you compare the quality of today’s fabrics, buttons and other sewing accessories as well as their workmanship with the standards of 100 years ago, you have to admit a blatant loss of quality. This is why many young people and adults are only familiar with low-quality clothing made from synthetic fibers, especially polyester. The outstanding properties of renewable natural materials – sustainability, durability and comfort – are unknown to many people today. The “Touch & Feel” exhibition shows the quality of fabrics, buttons and other sewing accessories in the past. Linen, silk, wool, rabbit fur, mother-of-pearl, glass and horn buttons versus polyester, polyamide and plastic ->>> Touch & Feel!”2

The exhibition was installed in the “Schauraum der Angewandten im MQ” in the Museum Quarter in Vienna. While the space is quite small, resulting in the exhibition having to be on a reduced scale, it still managed to incorporate several aspects material questions in the fashion system. Natural materials where exhibited in different states of fabrication. Linnen was displayed from the raw material to the first fibre processing to a finished piece of clothing. Visitors were allowed to touch all the exhibits which added considerably to the experience and gave the material component another dimension through which fibre quality could be comprehended.
The natural materials were juxtaposed with textiles made from synthetic fibre. In some cases, it is astonishing how similar the first impression of synthetic materials can be to natural materials. It is only once you touch and feel the materials on the skin that you can really perceive the difference as a wearer. 

Why is this Topic Relevant for my Thesis?

One of the aspects of digital fashion that is interesting to me is that the material quality of clothing, which is such an important aspect of fashion design gets completely lost. An interesting corresponding development in “traditional” fashion design of today – which was also covered in the exhibition – is that the material seems to become less important as well. Particularly in fast fashion, the tactile quality of the textiles seems to not be a priority any more, but the selection of material is much more dominated by considerations of price and outer appearance of the fabric. This has lead to a decline in overall fibre and textile quality across the board in the textile market because buyers are demanding low prices and quickly produced materials rather than sustainably produced and comfortable to wear fabrics. It will be interesting to delve further into the topic of materiality in my further research and writing. 

Images

1MuseumsQuartier Wien. “Re:Pair FESTIVAL.” Accessed November 12, 2024. https://www.mqw.at/en/program/repair-festival.
2re:pair Festival 13.10.–5.11.2023, Programm – Re:Pair Festival 10.-27.10.2024. (Translated by DeepL)

Sources

“Re:Pair FESTIVAL,” MuseumsQuartier Wien, accessed November 12, 2024, https://www.mqw.at/en/program/repair-festival.

re:pair Festival 13.10.–5.11.2023, Programm – Re:Pair Festival 10.-27.10.2024, October 11, 2024, Re:Pair Festival 10.-27.10.2024, October 11, 2024, https://repair-festival.wien/programm/?date=2024-10-11.

All Images © Helene Goedl 2024

by hanna.weichsler -

Misogynie & toxische Männlichkeit

Der folgende Blogeintrag beschäftigt sich mit dem Buch „Bitterer als der Tod ist die Frau. Die Angst des Mannes vor der Gleichberechtigung“. Dieses Buch habe ich durch die Nutzung der Fernleihe ausgeliehen. Ich bin gespannt, ob ich darin Kapitel finde, die für meine Masterarbeit relevant sein könnten.

Misogynie

Ins Deutsche übersetzt bedeutet „Misogynie“ „Frauenhass“. Misogynie kommt aus dem Griechischen und beinhaltet die Wörter „Mísos“ („der Hass“) und „Gyné“ („die Frau“). Laut dem Autor ist bei der Verwendung des Begriffs Vorsicht geboten. Marneros zufolge ist der Frauenhass individuell, denn dieser geht von einem einzelnen Individuum aus. Dies ist für ihn die einzig richtige Verwendung des Begriffs. Im täglichen Sprachgebrauch wird dem Begriff der Misogynie oft eine überindividuelle Bedeutung zugeschrieben, welche eine größere gesellschaftliche Dimension impliziert. Um die Problematik dieser falschen Verwendung zu superieren, setzt er auf folgendes Zitat von Alice Schwarzer aus dem Jahr 2022 [Die Anmerkung stammt vom Autor]: 

Wir wissen heute […], dass der angebliche Unterschied [Anm.: zwischen Mann und Frau] nichts ist als ein Vorwand für die Hierarchie zwischen den Geschlechtern. Und dass diese Hierarchie keineswegs auf Liebe begründet ist, sondern auf Hass.

Marneros spricht im Zusammenhang mit diesem Zitat von unkorrektem Wissen und einer Verabsolutierung. Der Autor untermauert seine Behauptung durch die Veranschaulichung der Herkunft der beiden Wörter „Hass“ und „Mísos“. Bei diesen Wörtern handelt es sich um Monosemen, also Wörtern mit nur einer Bedeutung. Hass ist ein Gefühl, welches nachvollziehbar ist. Hassen wir, beispielsweise den Mörder der eigenen Eltern, ist das durchaus verständlich. Für den Autor gibt es im Gegenzug dazu einen nicht begründbaren Hass. Diese starke und negative Emotion kann sich gegen bestimmte Personen, Einstellungen, Situationen oder Gegenstände richten. Für Marneros ist es allerdings nicht richtig, den Begriff der Misogynie zu verwenden, um die allgemeine Haltung der Männerwelt gegen die Frauenwelt zu beschreiben. Die Beziehung zwischen Männern und Frauen kollektiv als eine von Hass erfüllte Beziehung zu sehen, ist für den Autor nicht richtig. Einzelne Männer (in Ausnahmefällen einzelne Frauen) können Frauenhass hegen und sich im Internet zusammenschließen. Allerdings bleiben diese Frauenhasser immer Individualisten mit individuellen Lebensgeschichten und Problematiken. Fälschlicherweise werden Verhaltensweisen und Einstellungen, die von der Minderwertigkeit der Frau ausgehen und gegen die Gleichberechtigung sind, oft unter diesem Begriff zusammengefasst. Für den Autor Andreas Marneros hat das nichts mit wirklichem Hass zu tun. Gleichwertigkeitsverneiner argumentieren mit der ontologischen Minderwertigkeit der Frauen. Sie sehen ihre Unterlegenheit als von Gott bzw. einer höheren Instanz gegebenen Tatsache. Diese Verneiner der Gleichwertigkeit sind nicht voller Hass, Zorn oder Wut. Wirkliche Frauenhasser, Misogyne sind von sadistischen Wünschen und Fantasien getrieben und hegen in den schlimmsten Fällen sogar Todeswünsche.1 

Laut dem Autor ist ein Frauenhasser (ein Misogyn) gleichzeitig ein Verneiner der Gleichwertigkeit. Ein Gleichwertigkeitsverneiner kann aber in seltensten Fällen auch als Frauenhasser gesehen werden.2

Der Frauenhasser ist schwach und lädiert und traumatisch gekränkt, seinem oft herrischen und aggressiven Auftreten zum Trotz.

Er ist nicht selten ein Selbsthasser.

Und ein Opfer.

Opfer von sich selbst;

Opfer seiner Inkompetenz, zwischenmenschliche Beziehungen konstruktiv zu gestalten und positiv zu erleben;

Opfer seiner Unfähigkeit, Liebe anzunehmen und Liebe zu geben;

Opfer seiner problembeladenen Sexualität, die er nicht als gegenseitiges Geschenk erleben kann, oder gar seiner Unfähigkeit, Sexualität als positive zwischenmenschliche Beziehung zu begreifen;

Opfer seiner erhöhten Hassbereitschaft, die ihn zu einer selbstverschuldeten Einsamkeit führt;

Opfer seiner Überzeugung, dass andere verantwortlich sind für seine Lage – in erster Linie und zweifelsohne die Frauen.

Und er ist Opfer seines Glaubens, ein Opfer zu sein. 3

Toxische Männlichkeit

Frauenhass ist toxisch in zweierlei Hinsicht. Er ist giftig für die Frau auf physischer, psychischer und/oder sozialer Ebene und schädigend für die hassende Person selbst. „Toxisch“ stammt vom griechischen Wort „toxikón“. Das Wort „toxikón“ kommt vom Wort „tóxon“, bedeutete ursprünglich „der Bogen“ und später „der Pfeilbogen“. Der Begriff wurde Zusammen mit „Phármkon“, was so viel bedeutet wie Gift, verwendet. Daraus resultierte die Wortkombination „Phármakon toxikón“, die „vergifteten Pfeile“. Diese vergifteten Pfeile zielen von Frauenhassern und Gleichwertigkeitsverneinern auf Frauen ab. In diesem Zusammenhang wird von der „toxischen Männlichkeit“ gesprochen. Marneros definiert „toxische Männlichkeit“ mit diskriminierendem, übergriffigem und in extremen Fällen von gewalttätigem Auftreten von Männern gegenüber Frauen bzw. gegenüber Männern. 4

Im Text wurde die Misogynie-Forscherin Kate Manne mit folgendem Zitat genannt: 

Man muss auch nicht unbedingt ein Mann sein, um misogyn zu sein: Auf Frauen kann diese Charakterisierung ebenso zutreffen wie übrigens auch auf nichtbinäre Menschen.

Der Autor stellt klar, dass die Forscherin beim Begriff der Misogynie nicht zwischen Frauenhass und Gleichberechtigungsverneinung unterscheidet.5

In meiner Masterarbeit könnte ich kurz auf dieses Thema eingehen. Eventuell findet es Anwendung in der Arbeit selbst oder als wichtiger Begriff bei den Definitionen am Anfang. Falls ich näher auf diese Thematik eingehen möchte, brauche ich natürlich mehr Literatur und mehrere Autor*innen, die darüber schreiben. 

1 (vgl. Marneros 2024, S.27-31)

2 (vgl. Marneros 2024, S.35)

3 (Marneros 2024, S.37)

4 (vgl. Marneros 2024, S.32)

5 (vgl. Marneros 2024, S.34)

Literaturangabe:

Marneros, Andreas: Bitterer als der Tod ist die Frau. Die Angst des Mannes vor der Gleichberechtigung. Haale: Mitteldeutscher Verlag GmbH 2024

by katharina.rauch -

Impulse #5 // World Usability Day // Accessibility: How the iPhone Supports Blind People in their Daily Life, Claudio Zeni

On November 14, I attended a lecture at World Usability Day, delivered by Claudio Zeni. The talk focused on Apple’s design innovations, particularly the VoiceOver technology, which has been essential in making smartphones accessible to blind and visually impaired people.

The Introduction of the iPhone and its Accessibility Impact

When the iPhone was first released in 2007, it revolutionized the smartphone industry. However, many in the blind community were skeptical about its usability, especially due to the lack of physical buttons. The question remained: How could a blind person interact with a touchscreen device? This challenge was addressed in 2009 when Apple introduced VoiceOver, the first integrated screen reader on a smartphone. Before VoiceOver, screen readers were available only on desktop computers, and for smartphones, additional costs and installations were required to make them accessible. Apple’s solution allowed blind users to walk into a store, purchase an iPhone, and immediately use it—without extra payment, installations, or assistance. This integration removed many barriers, making smartphones more accessible to the blind community.

iPhone vs. Other Smartphones: The VoiceOver Advantage

While other smartphones had screen readers too, these systems had significant drawbacks, including high costs and installation complexities. The iPhone’s VoiceOver was revolutionary because it provided a built-in solution that required no additional steps to activate. This made the iPhone not just accessible, but intuitive for blind users. Also compared to Android’s TalkBack, Apple’s VoiceOver is more sophisticated and user-friendly, making the iPhone the preferred choice among many visually impaired people. The simplicity of VoiceOver allows users to touch the screen and hear what is under their finger, and with a simple double-tap, they can activate the item. This easy interaction has made the iPhone a powerful tool for blind users.

Real-World Application: Navigating with the iPhone

Claudio demonstrated how a blind user can plan a journey using the DB Navigator app. For example, when planning a trip from Düsseldorf to Graz, VoiceOver read aloud the available train connections, guiding the user through each step of the journey. This made it clear how far we’ve come in enabling blind individuals to navigate complex systems like train schedules independently. The ability to use such everyday services without assistance has significantly improved the lives of blind users.

Simplicity and Apple’s Design Philosophy

Apple’s design philosophy, which emphasizes simplicity, is a key factor in the success of VoiceOver. The intuitive nature of the iPhone’s design ensures that its accessibility features are seamless and easy to use. For instance, when using the iPhone’s keyboard, users can slide their fingers over the keys, and VoiceOver will read the letters aloud. Once the user lifts their finger, the letter is typed, allowing for simple and effective interaction. This simple approach to interaction is key to ensuring that blind users can engage with their phones in a natural and intuitive way. By reducing complexity, Apple has made its devices accessible without overwhelming users.

Not All Apps Are Fully Accessible

However, Claudio pointed out that not all apps are fully accessible. Some apps have accessibility issues because developers fail to properly label their elements. In his example „mconnect“ VoiceOver would only read „button, button, button“, but without specifying what each button did. This issue occurs when developers do not use standard UI elements that VoiceOver can recognize. To ensure apps are fully accessible, developers must use standard elements and avoid custom designs that VoiceOver cannot interpret. This is a crucial lesson for designers—accessibility must be considered from the start of the design process.

Key Takeaways for Designers and Developers

One of the main lessons from Claudio’s presentation is that accessibility should be integrated into the design process from the beginning, not as an afterthought. If accessibility is included early on, it does not significantly increase the cost or complexity of the project. In fact, retrofitting accessibility features later can be both expensive and challenging. Designers should use standard UI elements to ensure that screen readers like VoiceOver can properly identify key elements such as headings, tables, and buttons. For example, instead of making text bold or increasing the font size to indicate a heading, designers should use the appropriate HTML heading tags. This ensures that screen readers can correctly interpret and navigate the content.

The Future: AI and Accessibility

Claudio also discussed the role of artificial intelligence (AI) in enhancing accessibility. AI is already being used in image recognition, which could help blind users by describing images on websites or apps. Additionally, devices like the Envision glasses provide real-time descriptions of the environment, offering a glimpse into what the future of accessibility might look like. However, Claudio stressed that AI should complement good design, not replace it. Accessibility features should be built into the design process, and AI should enhance these features, helping users gain even greater independence.

Conclusion: Accessibility Is Key to Inclusive Design

The key takeaway from this session is that accessibility must be considered from the beginning of the design process. Apple’s integration of VoiceOver into the iPhone has made it a powerful tool for blind users, proving that accessible design doesn’t have to be complicated or costly. By using standard UI elements and thinking inclusively, designers can create products that are accessible to all users. This session has provided valuable insights that will guide my research into adaptive and context-aware interfaces, particularly in terms of how accessibility can be seamlessly integrated into user interface design.

Links

https://worldusabilityday.at
https://www.youtube.com/watch?v=mZ_O0eSX8GM
https://www.linkedin.com/in/claudio-zeni-a6a05a347/

by ellen.dressler -

26 | IMPULSE #5 – Visit of the Zotter chocolate factory

Visiting the Zotter Chocolate Factory and Museum was a good opportunity to witness how sustainable and ethical values can be woven into a business model that engages consumers on multiple levels. Zotter’s dedication to fair trade, environmental responsibility, and innovative production methods provides a practical example of how sustainable practices can flourish in a commercial setting.

Given my thesis focus, the visit offered interesting insights into how a similar model could function within a digital application. By bridging ethical principles with interactive experiences, Zotter creates a great environment to learn in a „gamified“ and fun way more about their philosophy.

The chocolate theater

The Zotter experience began with a tour of their “Chocolate Theater“. This tour is designed to familiarize visitors with the chocolate-making process, beginning with a documentary titled “A Cocoa Journey Around the World.” The film traces the path of cocoa beans from sustainable, fair-trade farms to their transformation into Zotter’s signature chocolate. This journey reflects Zotter’s emphasis on fair compensation and transparency within their supply chain, which helps understanding the ethics behind their chocolate.

The narrative structure of the documentary, paired with Zotter’s commitment to ethical sourcing, highlighted the potential of storytelling to communicate important values to consumers/users. For example, sharing short narratives about sustainably sourced products could help users make informed, ethical choices. The focus on education through storytelling demonstrated that people are more likely to engage with and support sustainable practices when they understand the positive impact of their choices, a principle I hope to integrate into my own project.

Interactive tasting stations

The tour continued with a series of interactive tasting stations. Visitors are invited to sample a wide range of chocolate ingredients, from raw cocoa beans to various types of milk and sugar, exploring how each ingredient influences the final product. Unique tasting experiences, such as the vegan chocolate fountains or the „CHOCOshot Station“ with liquid praline, encourage visitors to directly engage with the diversity of flavors and ingredients.

This hands-on, sensory approach to learning emphasizes Zotter’s commitment to consumer awareness. By linking enjoyment with education, Zotter makes learning about sustainable production engaging and memorable. For instance, interactive tasks or “missions” within my app could reward users for learning about sustainable choices or trying new ethical products, helping to foster engagement and repeat participation.

The edible animal garden

One of the most surprising aspects of the Zotter visit was the „edible animal garden“, an on-site bio-agricultural farm that emphasizes organic, local food production. The garden is home to rare animal breeds, local fruit and vegetable crops, and eco-friendly installations, which allow visitors to explore various aspects of organic farming and sustainable agriculture. Through this agricultural experience, Zotter extends their commitment to sustainability beyond chocolate, creating a tangible example of environmental stewardship.

For my research, this experience reinforced the concept of fostering environmental connections to inspire sustainable action. Zotter’s approach demonstrates that firsthand interactions with nature and sustainable agriculture can profoundly influence people’s understanding of environmental issues. In terms of app design, this could translate into virtual elements that connect users with nature, such as gamified gardens or interactive animal care tasks that reward users for sustainable choices made in the real world. Zotter’s bio-agricultural garden suggests that combining education with real-world relevance can significantly impact user engagement and motivation to adopt sustainable habits.

Commitment to fair trade and the role of transparency

A core tenet of Zotter’s business philosophy is their commitment to fair trade practices. Every ingredient used is 100% organic, and Zotter meticulously ensures that farmers within their supply chain are compensated fairly. This transparency, embedded within the company’s identity, fosters trust among consumers and creates a model of ethical production that benefits both the community and the environment.

This emphasis on fair trade and transparency highlighted the value of incorporating similar principles into my app design. Users could be encouraged to support brands with ethical supply chains, receiving in-app or even real-life rewards for choosing fair-trade products or for participating in educational content about sustainable sourcing. Zotter’s commitment to fair trade shows how these ethical standards can attract and retain customers while promoting positive social and environmental impacts. For my thesis, it underscores the importance of integrating features that not only inform but reward users for making conscious choices aligned with sustainable practices.

Concrete takeaways on how to apply Zotter’s model to digital sustainability initiatives

Experiencing Zotter Chocolate Factory’s approach firsthand provided several insights that could translate effectively into the digital domain. My master’s thesis aims to design an app that motivates users to adopt more sustainable habits through rewards and interactive content. Observing Zotter’s methods of engaging consumers with sustainability offered valuable perspectives on how to structure a digital platform that encourages positive actions:

  • Gamification of Education
    Zotter’s use of tasting stations and sensory experiences to educate visitors demonstrated the effectiveness of gamification in fostering engagement. This aligns closely with the vision for my app, where users could complete tasks or missions that educate them about sustainable practices and reward them with points or badges for their engagement.
  • Storytelling and Transparency
    Zotter’s transparent communication about their sourcing and fair trade practices underlines the impact of sharing stories that connect consumers to the origins of their products. Similarly, my app could incorporate stories about sustainable businesses, making ethical consumption more personal and relatable for users.
  • Nature and Community Connection
    Zotter’s bio-garden emphasizes the power of reconnecting with nature to inspire sustainable choices. This principle could be applied virtually by allowing users to develop their own digital “gardens” or virtual environments that grow and evolve as they make more eco-friendly choices. These digital spaces would function both as rewards and as reminders of the positive environmental impacts of their actions.
  • Rewarding Positive Behaviors
    Zotter’s model demonstrates that sustainability and profitability can go hand-in-hand. In my app, users could be rewarded for purchasing fair-trade or organic items, thereby encouraging eco-friendly habits in a way that also supports ethical brands. Such incentives can create a feedback loop that continuously reinforces sustainable decision-making.

Zotter website: https://www.zotter.at/das-ist-zotter

More about Fairtrade:
https://www.fairtrade.at/produzenten/kakao/kakaoinhalt
https://www.t-online.de/leben/essen-und-trinken/id_77410646/schokolade-und-kakao-unterschiede-bei-fairtrade-siegeln.html

by ellen.dressler -

25 | IMPULSE #4 – How video games are driving real-world change, insights GDC 2022

As the gaming industry continues to grow, so does its potential to inspire real-world change. This blog post is about two talks that were held at the Game Developers Conference (GDC) 2022.

Hunter Bulkeley from Tilting Point and Arnaud Fayolle from Ubisoft – showcased how the gaming world can effectively address climate issues. Bulkeley’s talk, Good Deeds Through Games: Integrating Features to Address Climate Change, and Fayolle’s presentation, Climate Game Toolkit for Content Creators, present compelling strategies for how games can help combat climate change, from embedding eco-friendly features directly into gameplay to influencing players‘ real-world actions. This blogpost explores how games can integrate climate-friendly initiatives and why doing so is beneficial not only to our environment but also to the gaming industry itself.

Bulkeley’s approach at Tilting Point demonstrates a practical and innovative way to integrate climate action directly into gameplay. Focusing on TerraGenesis, a mobile game themed around planetary development, Bulkeley describes how the team introduced a feature allowing players to contribute to reforestation efforts. Since the feature’s launch, TerraGenesis has enabled the planting of over 500,000 trees across several countries, proving that a well-aligned game feature can make a tangible environmental impact.

This concept is a step beyond simple in-game donations, it’s about embedding purpose into the gameplay itself. Players get to experience a sense of agency, knowing that their actions in-game have a real-world effect. Bulkeley stresses that choosing the right cause and a trustworthy partner, such as Tilting Point’s partner Ecology, is essential. Ecology’s role ensures that each player-driven contribution is fully traceable and impactful, aligning player actions with measurable environmental change. By pairing thematic elements of TerraGenesis with a reforestation initiative, the game creates a unique bridge between virtual and real worlds.

Arnaud Fayolle’s insights into how games can inspire cultural shifts underscore the potential of game narratives to build a sustainable mindset. Fayolle discusses games that use storytelling to raise awareness, such as Never Alone, which highlights the struggles of Indigenous peoples, or Horizon Zero Dawn, where environmental themes are central to the story. These narratives allow players to grapple with environmental challenges in a context that fosters empathy and understanding.

Through their ability to visualize potential futures, games can drive meaningful change in players’ attitudes toward the environment. For example, games like Plasticity showcase the devastating impacts of pollution, while Stardew Valley reconnects players with nature and promotes sustainable living. By immersing players in such narratives, developers can inspire players to adopt real-world eco-conscious behaviors.

Making a real-world impact with in-game actions

Both Bulkeley and Fayolle recognize that games can do more than just tell stories about climate change – they can encourage players to take direct actions. In TerraGenesis, Bulkeley’s team found that players responded positively to opportunities to support reforestation simply by engaging with the game’s ecosystem. This engagement not only promoted environmental good but also increased ad engagement within the app, suggesting that players are more likely to participate in charitable actions when they involve time, rather than direct monetary contributions.

Similarly, Fayolle emphasizes the power of repeated in-game calls to action. In The Sims 4: Eco Lifestyle, players can build eco-friendly homes and see their neighborhoods transform based on their decisions, effectively modeling how individual actions contribute to larger environmental outcomes. This game mechanic primes players to consider similar actions in their own lives, fostering behavioral change that transcends the virtual world.

More sustainable designs across the Gaming Ecosystem

One key aspect of Fayolle’s Climate Game Toolkit is a focus on sustainable game production itself. Game studios, marketing teams, and hardware manufacturers all have a role to play in reducing the environmental footprint of games. Fayolle points out that by optimizing code and offering power-saving modes, games like Subway Surfers and Genshin Impact minimize energy consumption, reducing their environmental impact. These optimizations, though behind the scenes, can make a significant difference when scaled across millions of players.

Fayolle’s insights into graphic sobriety are also critical here. Games like Breath of the Wild and Team Fortress 2 achieve beautiful aesthetics with minimal resource use, demonstrating that impressive visuals don’t need to be energy-intensive. By optimizing textures and educating players on the environmental impact of high graphic settings, developers can help create a more sustainable gaming experience. This approach not only reduces power consumption but can also educate players on making eco-friendly choices in their gaming settings.

Motivating change and building resilience

Both Bulkeley and Fayolle highlight that games can foster emotional resilience, another essential component in the face of climate challenges. Games like Spiritfarer and A Short Hike create narratives that normalize sustainable behaviors and emotional resilience, reinforcing these habits in players’ lives. Fayolle points out that behavioral transference from game to reality is a powerful tool. Dishonored, for example, promotes non-violent conflict resolution, while 80 Days subtly critiques consumerism, challenging players to think more critically about their real-world habits.

The idea is that by repeatedly experiencing these scenarios in games, players may adopt similar habits in real life. This principle is further exemplified by simulation games like Plague Inc. and Fate of the World, which use real-world science to model complex systems and long-term environmental consequences. By interacting with these systems in a virtual space, players gain an understanding of the interconnectedness of human actions and the natural world, potentially fostering a more climate-conscious mindset.

As both Bulkeley and Fayolle conclude, the gaming industry holds immense potential for influencing positive environmental change. Bulkeley urges developers to consider features that align with players’ interests and values, emphasizing that such initiatives can remain profitable when integrated thoughtfully. Meanwhile, Fayolle stresses that each facet of game development – from studio operations to game design – has a role to play in creating a sustainable industry.

By designing games that not only entertain but also educate and inspire, developers have the chance to engage players in meaningful climate action. The Climate Game Toolkit provides a robust framework for implementing these principles, empowering developers to leverage the cultural power of games to promote environmental sustainability.

Link to the Video Good Deeds Through Games: Integrating Features to Address Climate Change: https://www.youtube.com/watch?v=sYs7JwmgC7I

Link to the Video Climate Game Toolkit for Content Creator (GDC2022): https://www.youtube.com/watch?v=GaEAyeW-UlU

Gaming for the planet alliance: https://www.playing4theplanet.org/

by lea.haas -

Road to M.A. 3: Literature pt2.

Book 3

Donnenberg, Wilbirg: Frauen und Wahnsinn im Film. Filmschau  17. Bis 30. April 1998; Symposion 18. Und 19. April 1998. Wien: Sixpack 1998

Overview:

The book Frauen und Wahnsinn im Film (Women and Madness in Film), written by Wilbirg Donnenberg, was part of a symposium held in April 1998 in Vienna. The text explores the representation of women and madness in film, addressing how mental illness and psychological distress are portrayed, particularly in relation to female characters.

Questions:

  1. How does Donnenberg analyze the portrayal of women and madness in film?
  2. How does the book connect representations of madness to broader social and cultural issues, particularly gender?
  3. Does the book offer any critical perspective on the historical treatment of women in cinema, especially in relation to mental health?
  4. Is there an intersectional approach in the analysis of women and madness in these films?

Read:

Donnenberg provides an insightful exploration of the portrayal of women in a psychological or mentally disturbed state in cinema. She examines films from various periods and genres, considering how mental illness is framed within gendered narratives. She critiques the way women’s mental health issues are often depicted in a sensationalized or stereotypical manner, sometimes reinforcing negative cultural perceptions of women’s psychological experiences.

The book also delves into the socio-cultural implications of portraying women in this way. The selection of films referenced in the text includes both famous and obscure titles. While these films vary in style and genre, the common thread is how they use mental illness as a lens through which to examine women’s roles in society.

Recite:

Donnenberg’s analysis emphasizes that the portrayal of women and madness in film is not just a question of individual psychological pathology, but also a reflection of cultural and societal anxieties about women’s roles.

The book provides an in-depth look at how these portrayals have evolved over time, from early film depictions of women as the ‘madwoman in the attic’ to more contemporary portrayals that engage with themes of agency and self-determination. Donnenberg’s critical eye is also focused on how feminist theory has influenced and challenged these portrayals.

Review:

The text is logically structured, moving from an analysis of early film representations of women and madness to more recent developments in cinema. The book’s structure is straightforward, with a clear division between the theoretical discussion and film examples. However, the book could benefit from a more explicit discussion of its theoretical framework. Her insights are valuable, particularly for those interested in the intersection of gender, mental illness, and film. However, the text could have delved deeper into the socio-cultural impact of these representations, particularly in the context of modern feminist discourse. The style of writing is academic and critical, suitable for a scholarly audience, but might be inaccessible to readers without a background in film theory or feminist studies. It’s filled with a lot of analysis.

Wilbirg Donnenberg is an expert in the field of film studies, particularly in the areas of gender, representation, and the intersection of mental illness and cinema. Her academic background and focus on feminist theory suggest a deep understanding of how films portray gender and mental health. However, her expertise might be more specifically rooted in feminist film criticism and the portrayal of women in cinema rather than in a broader spectrum of film theory.

The structure of Wilbirg Donnenberg’s text, „Frauen und Wahnsinn im Film,“ appears to follow a scholarly format that emphasizes critical analysis and the exploration of themes related to gender and mental illness in cinema.

The quality of the content is likely high.

In terms of style, it’s formal and analytical, clearly aimed at an academic audience. The language might be overwhelming at times, using specialized terminology from film theory and feminist studies.

Is it useful for me?

This book is not very useful for my research purposes, but still Donnenberg’s analysis is valuable in understanding how societal views on women and mental health are reflected in cinema.

Source 4

Laura Mulvey and The Male and Female Gaze

by lea.haas -

Road to M.A. 2: Literature pt1.

Book 1

Goddard, Kevin. „Looks Maketh the Man“: The Female Gaze and the Construction of Masculinity. In: The Journal of Men’s Studies (2000)

Overview: The article explores how the concept of the female gaze redefines masculinity and its representation in media. Goddard examines how men are increasingly subject to objectification, traditionally reserved for women, and how this shift affects societal norms and expectations of masculinity.

Important Headlines/Chapters:

  • Introduction
  • Theoretical framework
  • Analysis of media examples
  • Implications on masculinity
  • Conclusion

Questions:

  1. What is Goddard’s main argument about the impact of the female gaze on masculinity ?
  2. How does the female gaze differ from the male gaze?
  3. What evidence does Goddard provide to show how men are perceived in media ?
  4. How does the female gaze affect gender roles in society?
  5. What conclusions does Goddard draw about the implications of these shifts in media ?

Read:

While reading the text I came across these anwers:

Goddard argues that the female gaze does not simply reverse the dynamics of the male gaze but instead introduces a nuanced perspective on masculinity.

  • He provides examples from advertisements and popular media.
  • The female gaze impacts men by placing new aesthetic pressures on them.
  • This shift has broader cultural implications, as it challenges the idea that only women are subjected to the pressures of physical appearance.

Recite:

The article delves into how the female gaze influences modern representations of masculinity. Goddard argues that the objectification of men in visual culture reflects changing gender dynamics, where both men and women are subject to aesthetic pressures. This shift challenges traditional gender norms by presenting masculinity as an idealized, consumable image.

Review:

  1. What is Goddard’s main argument about the female gaze?
    • The female gaze reconfigures masculinity by introducing new expectations of physical attractiveness and objectification.
  2. How does the female gaze differ from the male gaze?
    • While the male gaze is often about power and control, the female gaze focuses on aesthetics and desire without necessarily aiming to dominate.
  3. What examples does Goddard give?
    • Goddard discusses advertisements and film scenes where men are depicted as objects of desire, highlighting the shift in how masculinity is portrayed.
  4. What effect does this have on gender roles?
    • It complicates the concept of masculinity by introducing traditionally associated with femininity.
  5. What can be concluded?
    • The article concludes that both the male and female gazes contribute to the construction of social expectations around gender, indicating that objectification is not limited to women.

Kevin Goddard is considered an expert in the field, particularly in the areas of media studies, gender studies, and the sociology of masculinity.

Structure: The structure of Kevin Goddard’s article is clear and logical, with a well-organized flow that guides the reader through complex ideas. It begins with an introduction to the concept of the female gaze, followed by a detailed analysis of how masculinity is constructed and perceived in media.

Quality of Content: The content is of high quality, demonstrating a deep engagement with both feminist theory and masculinity studies. Goddard effectively integrates theoretical perspectives with concrete examples, making the arguments compelling and well-supported. He draws on established scholars like Laura Mulvey while also contributing his own insights, adding value to ongoing academic discussions.

Style: The writing style is scholarly yet accessible, striking a balance between theoretical depth and readability. Goddard uses precise language, avoiding overly complex jargon, which helps to communicate ideas in a way that is understandable to readers who may not be specialists in gender studies. However, at times, the theoretical explanations may require a re-reading to fully grasp his point.  

Is it useful for me?

Yes, Kevin Goddard’s article, „Looks Maketh the Man: The Female Gaze and the Construction of Masculinity,“ is very useful for my purposes, particularly in exploring how gendered gazes function to shape societal perceptions of masculinity and power dynamics. The sections that delve into the female gaze and its impact on the portrayal of men in media are especially relevant for my research.

Additionally, while the article effectively discusses the construction of masculinity, it lacks a deeper analysis of intersectionality, such as how race, class, or sexuality might alter these representations.

Book 2

Malone, Alicia: The Female Gaze. Essential Movies Made by Women.Mango Publishing: Florida 2018, E-Book

Overview:

The book, published in 2018, offers an in-depth exploration of movies directed by women and how they embody the „female gaze“ in contrast to traditional cinematic portrayals shaped by the male gaze. Malone highlights key films made by women and discusses how they shape the portrayal of women, the male characters, and the entire narrative.

Question:

  1. What is the „female gaze“ in cinema, and how is it defined in the context of this book?
  2. How does the female gaze challenge traditional portrayals of women in film?
  3. How does the book connect the feminist movement to the evolution of film by women?

Read:

While reading the book, I focus on sections that explore key films and directors, noting how the book links the cultural and historical context of feminist movements with the films. The sections addressing the treatment of gender and the role of women in these films are particularly valuable for understanding how the female gaze differs from the traditional male gaze.

Recite:

  • The „female gaze“ is a concept where films directed by women bring new perspectives on narrative, power dynamics, and gender roles. The book highlights how women directors challenge stereotypical female roles and portray men in more nuanced ways.
  • Essential films discussed include works by directors like Kathryn Bigelow, Greta Gerwig, and Jane Campion, showcasing how their films provide alternative portrayals of women’s experiences.
  • The book argues that the emergence of female filmmakers and their unique storytelling approach has created space for a broader, more inclusive definition of masculinity, femininity, and sexuality.
  •  

Review:

The book is well-structured with a clear narrative that moves from the historical context of women’s involvement in film to analyzing specific films that exemplify the female gaze. It organizes the films into categories based on themes like female empowerment, complex masculinity, and romantic relationships.

Malone provides insightful commentary, but some sections could benefit from deeper theoretical analysis. While the inclusion of specific films is valuable, a more expansive exploration of intersectionality—particularly with race, class, and sexuality—would have enriched the discussion.

Malone’s writing style is accessible and engaging, making complex feminist film theory approachable for a broad audience. However, the tone sometimes feels more like a general overview rather than a academic critique.

Evaluation:

The book is useful for my thesis because it’s exploring how women directors challenge traditional gender roles and how these films offer new ways of looking at masculinity and femininity. It provides a good introduction to the female gaze in film.

Alicia Malone is a well-known film critic, author, and host, particularly recognized for her work in promoting women filmmakers and advocating for a more inclusive representation of gender in cinema. She has written several books on film and women in cinema, and she frequently appears as a presenter and commentator on film-related topics. While Malone may not have the academic credentials typically associated with „experts“ in the field, she is certainly an established authority in the world of film criticism.

The structure of The Female Gaze: Essential Movies Made by Women by Alicia Malone is clear, well-organized, and accessible. The chapters are arranged around a series of essays, and each section explores specific films or movements, providing both analysis and context. However, the book is more of a survey and celebration of films, rather than a deeply academic or theoretical examination of the female gaze.

Is it useful for me?

Yes, The Female Gaze: Essential Movies Made by Women by Alicia Malone is useful for my purposes. The book highlights the significant contributions of women filmmakers, which aligns with my interest in how female perspectives and narratives are represented in cinema.

It helps to contextualize and define what constitutes the female gaze as distinct from the male gaze, showing how women filmmakers challenge traditional gender dynamics and representation in cinema. The chapters that discuss the historical context of women in filmmaking, as well as the impact of feminist movements on cinema, are also quite relevant. However, while the book does a great job of introducing films and filmmakers, it lacks a deeper theoretical exploration of the „female gaze.“ It focuses more on film analysis and less on the cultural, social, or academic frameworks that underlie the concept.

by maximilian.kathan -

2.Impuls: Mastering the Business of Motion Design Podcast

Erfolgreiches Business im Motion Design: Erkenntnisse aus dem Podcast mit Haley Akins

Für meinen zweiten Blogpost möchte ich Einblicke aus einem spannenden Podcast der School of Motion Design teilen, den ich kürzlich angehört habe. In dieser speziellen Folge war die erfahrene Motion Designerin und Gründerin von Motion Hatch, Haley Akins, zu Gast und sprach darüber, worauf Motion Designer achten sollten, um erfolgreich Geld mit ihrer Kunst zu verdienen.

Haley Akins, bekannt als Gründerin von Motion Hatch, unterstützt die Motion Designer und Animator dabei, ihr Business zu verbessern. Motion Hatch bietet Schulungsmaterialien, Ressourcen, eine Community und einen Podcast an, um den Erfolg von Kreativen zu fördern.

Herausforderungen und Veränderungen in der Branche

Im Podcast erklärte Akins, dass die Pandemie für Motion Designer eine Boom-Zeit war, da Live-Action-Produktionen unmöglich wurden und die Nachfrage nach Animation stieg. Im Jahr 2023 hingegen erlebten viele Freelancer eine drastische Verschlechterung der Auftragslage. Wer auf Empfehlungen und Kontakte setzte, befand sich oft in einer passiven Position, da es schwer vorherzusehen ist, wie oft man empfohlen wird.

Akins sprach darüber, dass viele Motion Designer begannen, ihre Dienstleistungen in Form von Produkten zu verkaufen, um den Kund eine klare Vorstellung davon zu geben, was sie für ihr Geld erhalten. Traditionell passten Designer ihre Preise und Arbeitszeiten individuell an jedes Projekt an, da die Anforderungen stark variieren. Dies konnte jedoch Kund, die noch nie mit einem Freelancer aus dem Bereich Motion Design zusammengearbeitet haben, verunsichern und die Einschätzung der Projektkosten erschweren.

Strategien für eine nachhaltige Positionierung

Haley Akins erläuterte zwei grundlegende Ansätze, die sich in den letzten Jahren etabliert haben: Entweder man spezialisiert sich auf eine Nische mit wenig Konkurrenz, um Kunden langfristig zu binden, oder man kämpft bei jedem Projekt um den nächsten Auftrag. Um erfolgreich zu sein, müssen Motion Designer ihre Arbeit und sich selbst einzigartig präsentieren. Es reicht nicht, nur die eigene Expertise zu zeigen – es ist ebenso wichtig, aktiv in Kundengewinnung und Marketing zu investieren.

Marketing- und Akquise-Strategien

Ein zentraler Punkt, den Akins betonte, ist, dass Marketing für Freelancer wichtiger denn je ist. Eine effektive Strategie besteht darin, anstelle eines fertigen Produkts einen Baukasten anzubieten, den Unternehmen an ihre Bedürfnisse anpassen können.

Zu Beginn war LinkedIn eine großartige Plattform, da der Algorithmus Inhalte breit streute. Heute jedoch richtet sich der Content primär an ein spezifisches Publikum. Akins hob hervor, dass Motion Designer Gefahr laufen, in ihrer eigenen „LinkedIn-Bubble“ zu verharren, was es erschwert, neue Kunden zu erreichen. Daher empfahl sie, nicht nur über Motion Design zu schreiben, sondern auch Themen wie Marketing und Business zu behandeln.

Die 4-A-Strategie und andere nützliche Tipps

Akins stellte eine hilfreiche Marketingstrategie vor, um die Reichweite zu erhöhen: Awareness, Attraction, Action und Advocacy. Diese vier Phasen repräsentieren verschiedene Arten von Content, die dazu beitragen, potenzielle Kunden auf sich aufmerksam zu machen.

Darüber hinaus betonte Akins, wie wichtig es ist, Testimonials auf der eigenen Website zu präsentieren, um Vertrauen zu schaffen. Kunden möchten sehen, mit wem man zusammengearbeitet hat und wie die Erfahrungen waren. Ein ausgewogenes Verhältnis zwischen aggressiver Akquise und dem Aufbau einer langfristigen Geschäftsbeziehung ist entscheidend.

Lektionen aus der Pandemie und die neue Realität

Akins wies darauf hin, dass viele Designer während der Pandemie ihre Stundensätze erhöhten, was durch die erhöhte Nachfrage gerechtfertigt war. Inzwischen mussten viele diese Preise wieder anpassen, da die Budgets gekürzt wurden. Die Bedeutung eines soliden Plans und das Wissen um den eigenen Wert wurden von Akins mehrfach betont. Jede Designer sollte wissen, wie viel er oder sie verdienen muss, um die laufenden Kosten zu decken.

Networking und das Finden neuer Kund

Eine spannende Geschichte, die Akins teilte, zeigte, wie sie selbst einen Kunden über LinkedIn gewonnen hatte. Sie reagierte zunächst auf seine Beiträge und baute eine Beziehung auf, bevor sie eine persönliche Nachricht schrieb. Diese subtile Herangehensweise führte schließlich dazu, dass sie ihm eine Idee pitchen konnte.

Agenturen können bei der Jobsuche ebenfalls hilfreich sein, da sie oft genau wissen, was sie brauchen, im Gegensatz zu einzelnen Kunden, die erst überzeugt werden müssen, warum sie Motion Design benötigen. Akins empfahl, E-Mails oder Jobangebote mit einer persönlichen Note oder einem Kompliment zu beginnen, um sich von der Konkurrenz abzuheben.

Nachhaltiger Erfolg und Delegieren

Zum Abschluss des Podcasts betonte Akins die Bedeutung des Delegierens. All die oben genannten Tipps und Tricks helfen wenig, wenn man zu viel Arbeit hat und in ein Burnout gerät..In so einem Fall ist es wichtig, rechtzeitig Aufgaben abzugeben und ein klares System zu entwickeln, das neuen Mitarbeitenden hilft, sich einzuarbeiten. Eine strukturierte Dokumentation der Arbeitsprozesse ist unverzichtbar.

Haley Akins’ Erkenntnisse und Ratschläge aus dem Podcast sind ein wertvoller Leitfaden für alle Motion Designer, die ihre Karriere stabilisieren und weiterentwickeln möchten und für mich, der gerade beginnt, ein sehr gutes Vorbild und ein ausgezeichneter Leitfaden.

Link zum Podcast:

Motionhatch:

https://motionhatch.com

Haley Akins:

https://www.hayleyakins.com/