FAHRAS.  INSTITUTE FOR WORLDMAKING

Two working demos of the platform

Clickable prototypes of the two surfaces FAHRAS is built around: the desk a researcher works from, and the form an artist receives after their interview.

Fictional data throughout  ·  nothing here is a live system
These are prototypes, not a deployed platform. They run in your browser with invented artists and invented records. Nothing is saved, nothing is sent, and refreshing the page resets everything. They exist so that the intended product can be argued with before it is built.

How the two connect

The desk comes first. A researcher approaches an artist, holds the interview, and reviews the transcript field by field, accepting or correcting what was extracted from it.
The form follows. Once that review is signed off, the artist is sent a link — in the same email as the participant agreement — carrying those confirmed values back to them. They are checking a page rather than composing one.
Corrections return as evidence. What the artist changes is flagged as coming from them, at the highest source reliability, and kept alongside the original rather than overwriting it.
Nothing publishes without approval. The finished record goes back to the artist exactly as it would appear, and publication is blocked until an approval exists for that version.

What to look at

On the desk: the twelve artists in the pipeline each sit at a different phase, so every step is reachable without working through the whole sequence. The stepper at the top of any record is clickable — past phases open read-only.
Roles: sign in as Researcher, then use Switch role to become Supervisor. Approval is only available to the Supervisor, and the switch is logged — which is how self-approval stays visible while one person holds both roles.
On the form: the language toggle in the top right switches the whole form to Arabic with right-to-left layout. Every question can be skipped, and a partial answer is a valid one.