Next up was 85 on Fortnite, followed by 67 on Discord and 50 on TikTok. ‘It’s the first stages of online grooming’Ī report from Online Guardians – using data from about 3,000 New South Wales students under the age of 13 – found Roblox had four times more bullying than any other platform, with 327 students bullied online on Roblox. As does Roblox, a digital platform where people can make and share games and interact with other users’ avatars. There has been a recent focus on the internet giants and what they are doing to combat abuse, but Omegle flies a little more under the radar. “However, online interactions also carry risks, including bullying, sexual victimisation and the misuse of personal images shared online, otherwise known as image-based abuse.” “Many of these interactions are likely to be positive and new friends made online can be a welcome addition to young people’s social lives,” he says. While online experiences can be “fun and enriching”, there can be downsides, Dagg says. “In the worst cases, children may come into contact with predators, whom we know exploit platforms popular with them,” the acting eSafety commissioner, Toby Dagg, says. The Australian Federal Police said in a statement that anonymous chat functions provided a platform for offenders who often create fake accounts to target children and young people.ĮSafety’s Mind the Gap research found about two in three teenagers have been exposed to violent sexual images and self-harm content online, while almost half of children have been treated in a nasty or hurtful way online. The eSafety commissioner has warned that reports about technology being “weaponised to abuse children” surged since the start of the pandemic. The Australian Centre to Counter Child Exploitation (ACCCE) has recorded a dramatic increase in reports of online child sexual exploitation, from 17,400 in 2018 to 33,114 in 2021. ![]() Sign up for a weekly email featuring our best reads “It’s been around since 2009 – I’ve always referred to it as the cockroach of the internet because it refuses to die.” “I felt like I had to bleach my eyeballs,” she says. Pendergast, the founder and chief executive officer of cybersafety program provider, was horrified when she tried it. Click, three young girls sitting on a bed in their pyjamas. You clock the stranger then chat or click and move on. When Guardian Australia tried it, it was a whirlwind of man after man in darkened room, waiting. ![]() Pendergast says it’s like a prank phone call – an illicit thrill, but this one’s dangerous.
0 Comments
![]() We’ve seen how a design system isn’t one-size-fits-all-it needs to be tailored to the company’s needs. We saw that as Spotify’s visual language and product strategy evolved, our design systems had to change too. Using Encore Foundation is the minimum bar for every Spotify product. These are things everyone should use-it’s what makes Spotify look like Spotify. ![]() It’s where we keep things like color, type styles, motion, spacing, plus guidelines for writing and accessibility. Encore FoundationĪt the center, we have Encore Foundation. Here's what Encore looks like under the hood. Before, we had 22 disconnected design systems now, we still have multiple systems, but they’re all connected and under the same umbrella. The different systems stay connected because they’re all built using design tokens, and they live on the same website, following a similar structure defined by the Encore framework. We’ve either straight-up rebranded them or extracted parts of them to create the new Encore systems. The framework is new, but Encore actually reuses a lot of the great that went into our previous design systems. So is Encore Spotify’s “new design system”? Not exactly. And while these teams maintain the different systems, anyone who builds products at Spotify can contribute. There are several design systems inside Encore, each managed by a different team around the company. Most importantly, we wanted a system that would fit with Spotify’s culture of autonomy-one that could scale across multiple platforms and use cases. We wanted to consolidate the resources we had, and create a system that felt unified, accessible, collaborative, and based on a coherent vision. We weren’t starting with a completely blank slate, though. This time, we wanted to design our design system, just like we’d design one of our product experiences. So, in 2018, we kicked off a new effort to create a design system for the company. Spotify really needed a useful, unified design system-but we knew that a centralized team like GLUE probably wouldn’t work. Can you imagine being a new designer or engineer and asking, “Hey, do we have a design system?” and the answer is, “Yeah, we actually have 22”? Pretty confusing. At one point, we counted 22 different design systems floating around. But this extremely decentralized, “everyone make your own” approach wasn’t sustainable. We wanted to make it possible for listeners to access Spotify anywhere.Ī lot of great work went into these ground-up efforts, and we’re still using parts of these systems today. This was in part due to a new company strategy: ubiquity. Now we were also designing for cars, smartwatches, speakers, and even smart fridges. The days of designing for mobile and desktop were long gone. In 2018, Spotify continued to grow, and fast. After a while, we saw that having a centralized design systems team didn’t fit with this way of working. Spotify values “aligned autonomy” and empowers teams (squads) to make their own decisions. Why? It comes down to how the organization is set up. This was great for consistency, and many companies find that a centralized team works for them. The team refreshed Spotify’s look and feel, standardized many of our components across mobile and desktop, and grew from a handful of people to 30+ full-time engineers and designers.īut there was a catch: GLUE was a single, centralized team. The GLUE design system was a success in lots of ways. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |