Who can use pixil
The short answer to this is “anyone” but to ensure this is true we have considered the best possible ways of presenting the system to the public, reducing the demand on the user as much as possible.
“Using” PiXil is a two level proposition; firstly and most simply as a viewer or end user and secondly and more desirably as an active contributor to the network.
PiXil viewers
The idea of using a computer is still considered a daunting prospect by many people of all ages and these are exactly the people we would like to attract to PiXil if the much talked about “digital divide” is ever to be bridged. PiXil strives to achieve this approachability through a number of features; firstly by eliminating the mouse and keyboard and secondly by not immediately demanding anything of the viewer.
Much like television content is played out regardless of user interaction. If the cursor remains inactive for 20 seconds the screen automatically switches to full screen mode; this keeps the kiosk engaging and entertaining and therefore more attractive to potential viewers/users.
PiXil contributors
As an integral part of the project PiXil provides a point of contact for people wishing to develop skills in media production, providing basic training whenever possible and making connections to existing training providers where necessary.
Submitting work to PiXil should be as easy as possible with marketing material, freepost submission forms and a drop-off point for work at every venue as well as a central address for people to send work directly along with contact details and additional information on the piece that will be available on the PiXil screens. When PiXil receive the piece it is encoded, approved and rated according to relevant policies and the contributor is assigned an individual username and password which would give them access to a web service where they can alter their profile and the profile of their pieces [all subject to approval] as well as removing pieces they no longer want available on the network.

