Creative Media Accessibility: Placing the Focus Back on the Individual

Romero-Fresco, Pablo

doi:10.1007/978-3-030-78095-1_22

Cited by 10 publications

(7 citation statements)

References 6 publications

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“…CRPD triggered the use of a new type of subtitles: same language subtitles or subtitles for the deaf and hard of hearing ( Neves, 2005 ; Neves, 2008 ), and these subtitles are not considered original work, since they are transcriptions of the dialogue. The issue is that subtitles for the deaf and hard of hearing codifies in writing more information beyond the dialogue, such as sounds, emotions or music ( Rashid et al ., 2006 ; Rashid et al ., 2008 ; Rawsthorn, 2007 ; Romero-Fresco, 2013 ; Romero-Fresco, 2021a ; Romero-Fresco, 2021b ; Rosenberg, 2007 ; Zdenek, 2018 ). There could be the argument that this translation is creative, hence subtitles for the deaf and hard of hearing should also hold copyright — though they don’t.…”

Section: Subtitle Copyright Managementmentioning

confidence: 99%

The visible subtitler: Blockchain technology towards right management and minting

Orero¹,

Torner²,

Oncins³

2023

Open Res Europe

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Background: Subtitles are produced through different workflows and technologies: from fully automatic to human in open source web editors or in-house platforms, and increasingly through hybrid human-machine interaction. There is little agreement regarding subtitle copyright beyond the understanding that it is a derivative work. While same language verbatim subtitles may have little room for creativity, interlingual subtitling is heavily dependent on the subtitler skills to translate, prioritise, and condense information. These days creative subtitles are increasingly being used as one more aesthetic element in audiovisual narrative. Though they may be in the same language, the visual attributes that contribute to the narrative development make creative subtitles one more element that should be acknowledged and copyright protected. Methods: The paper will present a short introduction to subtitling copyright. It will then describe centralised and decentralised copyright management — where blockchain technology can be applied to aid subtitler identification. A focus group with expert professional subtitlers was organised, and feedback is reported. Conclusions: Subtitle copyright is country dependent, still subtitling working practices and media asset distribution have no geographical borders. Blockchain technology -as a concept- could aid subtitle traceability. This can be useful beyond financial and moral right management and work towards media sustainability, allowing for reuse and repurpose of existing media assets.

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Section: Subtitle Copyright Managementmentioning

confidence: 99%

The visible subtitler: Blockchain technology towards right management and minting

Orero¹,

Torner²,

Oncins³

2023

Open Res Europe

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“…It includes a preamble and a description of each image (Figiel & Albin, 2022; Taylor & Perego, 2021) to consider not only access to the images but also the wider involvement of experiencing the work (Eardley et al, 2017). The piece builds on the idea of access as a creative, curatorial, and aesthetic practice (Cachia, 2019; Caro, 2016; Cooley & Fox, 2014; Hutchinson & Eardley, 2019; Romero-Fresco, 2021).…”

Section: Curatorial Statementmentioning

confidence: 99%

In Motion: An Adaptation of Enriched and Inclusive Audio Description Practices

Bergonzoni

2023

Qualitative Inquiry

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In Motion is an audio-described video piece that applies techniques from audio-described museum tours. The piece, sound recording, and audio description were done by the author, allowing for an enriched audio description, which combines the practice of verbally describing images with sound recordings and personal insights from the author/describer. I propose that audio description (AD) can advance social justice since it can only exist if it includes disability justice and provides an opportunity for embodied reflexivity through art-based practices. In Motion is representative of how accessibility can be part of the creative process and not an afterthought. It also shows how audio description can advance social and disability justice.

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“…The tactile objects embrace "radical subjectivity" (Romero-Fresco, 2021) by translating between senses and deviating from standardized audio description. This leads to a new aesthetic that challenges the visual function of art.…”

Section: Access As Creative Inspirationmentioning

confidence: 99%

Aesthetics and Participation in Accessible Art Experiences

Reviers,

Hanoulle

2023

JAT

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The action research project titled A Touch of Museum to Scale aims to improve the accessibility of the Museum to Scale art collection at the University of Antwerp. This project collaborates with various stakeholders to prototype tactile objects and an inclusive art guide for five artworks. It seeks to engage users of diverse abilities, investigate universal access services, and promote the integration of accessibility and artistic creation. The audio guide integrates visual descriptions and information for people with and without a visual impairment and integrates the artistic contributions of artists with and without disabilities. Artists also create tactile objects, which are an artistic and tactile translation of original artwork and a piece of art in their own right. The authors discuss project activities, such as personal observations, interviews, questionnaires, brainstorming sessions, and theoretical considerations based on literature and experience. The research is exploratory and invites both researchers and practitioners to reflect on participation and the aesthetics of access. Lay summary A Touch of Museum to Scale is a practice-based project that aims to improve the accessibility of the Museum to Scale art collection at the University of Antwerp. By working with various stakeholders, the team developed a prototype of tactile objects and an inclusive art guide for five artworks. This project is an experiment, in which we address several pertinent questions: how to create an audio guide that engages diverse abilities? How to make a guide that can be used by all? How to bring accessibility and artistic creation closer together? The result is an audio guide that combines visual descriptions and information for people with and without a visual impairment. It also includes the artistic contributions of artists with and without disabilities. In addition to the audio guide, artists have created tactile artworks to complement the original collection. In this text, the authors discuss the project activities and link them to insights from scientific literature. The authors hope to inspire a deeper reflection about accessibility and aesthetics in accessible art.

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Creative Media Accessibility: Placing the Focus Back on the Individual

Cited by 10 publications

References 6 publications

The visible subtitler: Blockchain technology towards right management and minting

The visible subtitler: Blockchain technology towards right management and minting

In Motion: An Adaptation of Enriched and Inclusive Audio Description Practices

Aesthetics and Participation in Accessible Art Experiences

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