Art, Museums and Culture Archives - Page 2 of 3 - Centre for Universal Design Australia

Inclusive visual art

How can we include people without vision in the visual arts? A collaboration between the Queensland University of Technology’s Design Lab and Art Museum decided to find out. The result was a co-designed inclusive visual art project titled Vis-ability.

Co-researcher Megan Strickfadden audio-describing a painting.

The Vis-ability project pushed the boundaries of universal design to discover multi-sensory experiences.

Equal access to art and cultural heritage remains limited. As a consequence, it privileges people with sight. Cultural institutions are a draw for tourists, but few are considering equitable access to exhibits.

A team of 35 researchers and people with lived experience of blindness or low vision, co-designed 12 outputs. The process proposed alternative ways of engaging with the art collection and expanding understanding of visual art.

Front view of the tube shaped tactile model with two hand shapes indicating it can be touched. — Front view of a tactile model

A tube shaped tactile model with raised portions inside the tube. Someone has their hand at the opening touching the mode. — Side view of a tactile model

The project emerged from Janice Rieger’s conversations with people who are blind. They found it was pointless going to an art gallery or museum because they were told that “art is only for the sighted”.

The Vis-ability exhibition opened in April 2019 at the QUT Art Museum. Visitors had the opportunity to experience tactile models and audio descriptions of selected works on display. Visitors were encouraged to think about senses other than sight when engaging with the artwork. More in-depth understanding of the works added a new dimension to the experience of art. Audio pods concealed the paintings so that all visitors would have to ‘hear the painting‘ before seeing it.

When you went into the exhibition you could see the paintings, you could touch the paintings, and you could hear the paintings. Even people who consider themselves able bodied appreciated that.
Prof Janice Rieger

The Vis-ability exhibition was co-designed with people with disability and reached an audience of 4 million globally. Funding for the project came from the EU Commission and in-kind support from institutions in Canada and Australia.

The title of the short paper by Janice Rieger is, Vis-ability: Design Cultures of Inclusion in Australia and Globally.

Editor’s comment

I was lucky to be involved in the early stages of this project. I joined a workshop where different groups attempted to interpret a painting by creating a tactile model using paper, glue and an any other materials available. The process of creating the model was a learning exercise for everyone involved.

Touching artworks in regular art galleries is forbidden, but in this instance, tactile experiences were encouraged. This added another dimension for people who are sighted. As with many things designed for a particular disability, it turned out good for everyone – yes, universal design!

The top picture was taken during a workshop session. It shows Prof Megan Strickfadden, a co-researcher, audio describing a painting.

Books for everyone with universal design

Reading is a skill that some people find difficult or onerous, so they miss out on reading for pleasure. But making books more accessible is more than just applying Easy Language. It also requires thoughtful layout, font and use of images. The Books for Everyone Framework describes the book making process from writing to publication.

Matching readers to the “right book” is more than the issue of genre or reading interests. Readers have varying language skills, functional differences and are neurodiverse. So the question for the publication industry is, “How can they work for inclusion of all types of potential readers?”

An article from Norway describes a case study of how the Books for Everyone (BfE) framework was used for five fictional books. These books were written by different authors, illustrators and publishers. The article provides suggestions for the publishing industry to accommodate reader diversity in the future.

A universal design perspective

At the beginning of 2000, books in Norway aimed at adults with dyslexia were often simplified versions of more complex books that were already published. Taking a universal design approach led to an awareness that books should still aim for high quality.

Rather than just simplifying text, more attention was given to how Easy Language can create high level literature. Consequently, BfE started cooperating with highly qualified authors, graphic novel designers, illustrators, and publishing houses in making new books.

The target groups for Easy Language books was broadened from people with cognitive impairments to everyone who will benefit. The primary target group determined the main adaptation approach applied. At the same time, these adaptations would most likely benefit other readers. Consequently, the universal design aspect of Easy Language was incorporated into the BfE framework.

It is interesting to note that in the last 22 years, Norway has embraced universal design across the built and digital environments. Consequently, it is no surprise that they are now applying the concepts more broadly.

The processes and framework are described in more detail in the article, The Development and Production of Literature Within an Easy Language and a Universal Design Perspective. The article is open access.

Abstract

Finding suitable books for pleasure reading is difficult for many people with reading challenges. Consequently, authors and publishing houses must consider user diversity when developing books.

Easy Language comprises an important component, which is closely related to other elements which together constitute accessible books, such as layout, fonts and use of images. Moreover, extensive user testing and involvement must ensure that the books meet the requirements of the readers.

This paper presents The Books for Everyone (BfE) Framework, which describes the process from initiation to publication and promotion of Easy Language books, using Norway as a case study. The BfE Framework is illustrated through examples from books and related to the reception and understanding of various user groups.

Braille and tactile paintings

Audio describing a painting to a person who is blind requires a special skill. It takes more than talking about shape, colour and content. It also requires an interpretation of the message the artist wishes to convey. But what if the painting has tactile outlines, borders and Braille scripts? Braille and tactile paintings became the mission of Chintamani Hasabnis.

Chintamani Hasabnis creates paintings accessible to people who are blind. This was after watching a young woman crossing the street with a white cane. He thought, “I paint so many pictures but I can’t show any of them to her.”

An article on the News Hook website tells how Hasabnis worked towards creating his paintings. He said it took a while before he realised he had to make something people could touch. A visit to a school for blind children gave him the answer – paintings with Braille and tactile elements. Pune International Airport in India was one of the first places to display one of his paintings.

Hasabnis has completed 30 paintings, mostly portraits, and of course, sighted people can also share the tactile joy of these paintings.

The video below, with captions, shows some of the paintings and how the Braille is incorporated into the picture.

This is not the first example of Braille painting. The Guy Cobb painting below is on the Wikimedia site is from 2010.

A man in a dark suit places his hands on a brightly coloured painting representing blue flowers on a yellow and orange background. — Guy Cobb Painting

Audio Describing for TV and Movies

The art of audio describing has improved considerably since it was first trialled some sixteen or so years ago. Australian produced television programs signal when a program is audio described with a distinct sound. And more movies and stage shows are offering this option. Audio describing (AD) is designed for people with vision impairment, but could sighted people benefit too?

A group of researchers looked at two questions – the quality of the AD, and the additional benefit to people who are sighted. Currently, the AD process sits outside the creative process. It’s added later in a similar way to captions and subtitles. However, lack of integration can cause misunderstandings about the plot and the characters.

The research group carried out an experiment with people with vision impairment and sighted people. A short film was shown with enhanced sound effects. For example, bed spring sounds for someone sitting on a bed. Their article explains in more detail and applies the seven principles of universal design to their method.

In conclusion, the study showed that sound design – that is, non-verbal cues – can replace verbal cues in some films. The enhanced audio description was accepted by both vision impaired and sighted audiences. One sighted participant said that because the AD was integrated into the film it didn’t feel like they were listening to AD.

It’s universal design!

The article shows the potential for everyone to have an enhanced experience at the cinema and in their lounge rooms. It indicates a strong case for considering AD in the creative process and not leaving it as an afterthought. Integration of AD into the design process is another example of universal design.

The tile of the article is, Enhancing Audio Description: Inclusive Cinematic Experiences Through Sound Design. The introductory page has both and abstract and a lay summary. Be prepared for a long but easy read.

Lay summary

Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production.

This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows. EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies. In EAD the traditional third person commentary is replaced by the combination of three techniques.

The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions.

The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.

Museums, exhibitions and universal design

Museums and exhibitions help us understand the world we live in and give context to our lives. Making the content of museums available to everyone is an important part of the work of exhibition designers.

The Helen Hamlyn Centre conducted research to assist with this. Their findings and conclusions are reported in their article, Using Design Thinking to Develop New Methods of Inclusive Exhibition Making.

The project identified clear guidelines as a necessary factor in a universal approach to exhibition design. The key factor is encouraging designers to be creative and experimental with their designs. Making designers feel like they obliged to follow what they consider stifling requirements is counterproductive. It’s also about co-design and a dialogue between users, the institution and the design team.

The article is from the proceedings of the UDHEIT 2018 conference held in Dublin, Ireland, an open access publication.

Arts Access Australia also commissioned a report in 2011, Access and Audience Development in Australia: Museums and Galleries research project.

Neurodiversity and exhibition design

This article is a call to action for exhibition designers and museum professionals to prioritize the needs of neurodivergent audiences by incorporating these key tools and features into their designs, programs, and institutions:

1. Heightened awareness of sensory needs
2. Emphasis on breathing practices and regulation areas
3. Opportunities for health-awareness exhibits
4. De-stigmatisation of the need for regulation
5. Integration of art therapy practices and PTSD programs
6. Engagement with local community groups
7. Creation of safe centers of belonging and healing

The title of the article is, Neurodiversity & Placemaking in Exhibition Design. Photographs are informative.

Inclusive Historic Houses

Some good advice from a Masters dissertation on how to create inclusive Historic House stories and exhibits. The emphasis is on overcoming the practice of relating the dominant white male narrative. The dissertation discusses issues of diversity of ethnicity, socio-economic status and belief systems.

Seeking stories of forgotten or overlooked people who occupied the house is one way to address the prevailing white male narrative. Gaston advises:

- Include diverse perspectives and narratives
- Connect the past to the present
- Build with shared authority
- Make the human connection

The title of the dissertation is, If These Walls Could Talk: Best Practices for Storytelling in Historic House Museums, by Hannah M Gaston.

Museum has integrated universal design

Integrating universal design was a priority in the redesigning of the Gateway Arch Museum in St Louis. A gently sloping plaza, architecturally integrated ramps, and engaging exhibitions. An article in the St Louis online news gives a good run-down of the features.

The universal design concepts allow people to interact with exhibits rather than just look at them. The touchable exhibits are a great success, and there are other enhancements for people with disability. The arch and the park are now easier to access by foot or bike as well. The Archinet website features a brief overview by the architects, and pictures of the museum. The timelapse video of the construction is interesting because of the landscaping of the parkland around it.

Tactile or 3D?

Which type of map is best – tactile or 3D? Three researchers from Monash University carried out a study to see if 3D printed models offered more information than tactile graphics such as maps. There were some interesting findings that were presented in a conference paper. The abstract gives a good overview:

From the abstract

Tactile maps are widely used in Orientation and Mobility (O&M) training for people are blind or have low vision. Commodity 3D printers now offer an alternative way to present accessible graphics. However it is unclear if 3D models offer advantages over tactile equivalents for 2D graphics such as maps.

In a controlled study with 16 touch readers, we found that 3D models were preferred, enabled the use of more easily understood icons, facilitated better short term recall and allowed relative height of map elements to be more easily understood.

Analysis of hand movements revealed the use of novel strategies for systematic scanning of the 3D model and gaining an overview of the map. Finally, we explored how 3D printed maps can be augmented with interactive audio labels, replacing less practical braille labels. Our findings suggest that 3D printed maps do indeed offer advantages for O&M training.

The full title of the paper is, “Accessible Maps for the Blind: Comparing 3D Printed Models with Tactile Graphics“. The article is also available on ResearchGate.

Come-In! Guidelines for Museums

The graphic depicts the service chain that begins at arrival, all the elements and amenities at the museum to the shop and the exit.

Not all museums are grand institutions such as the British Museum. Volunteers run many small museums which rely on donations and entry fees. So, upgrading premises, exhibits and interpretive signage to be accessible to all poses challenges. But legal obligations require adjustments to provide accessibility. It also means that people with disability can join as volunteers more easily. The Come-In! Guidelines from Europe tackles some of the issues for small and medium-sized museums. Come-in! Guidelines provide a practical way forward for small and medium-sized museums. It lays down some principles to guide processes and to meet legal obligations. Language, the “service chain” and staff training are the key aspects of the guidance.

The principles include:

- Disabled people have a right to be included in all the activities of museums and galleries.
- Museums and galleries should engage in a dialogue with people with disabilities to find out what they need and wish, and how to deliver it.
- Identify barriers to access for people with disability and remove them
- Universal design principles should be the basis for inclusive practice in museums and galleries.
- Adopt inclusive practice to ensure disability issues are included in all areas of a museum or gallery’s activities.
- This process must be ongoing, long-term, achievable and sustainable. The museum’s policies and strategic planning should reflect inclusive practice.

The European Union acknowledges its obligations under the UN Convention on the Rights of Persons with Disabilities. The information in this guideline is good for any attraction or tourist destination. The Come-In! Guidelines are detailed and practical, and not just policy words. If you have difficulty downloading the document from Academia, you can download the PDF directly. The graphic is from the Guidelines.

Inclusive art, tourism, sport and recreation report

An assistance dog leans down towards a swimmer in the water at the side of the pool. Inclusive art, sport and recreation. — Assistance animals are a strategy for inclusion.

What’s involved in making arts, tourism, sport and recreation more inclusive? It’s more than just creating accessible venues and destinations. It requires a broad view of the issues and ways to implement inclusive practice. Policies with action plans to overcome attitudinal and systemic barriers are a start. A report for the Victorian Government identifies the issues and provides recommendations in relation to these areas of activity. Three principles underpinned the report. Inclusive policy:

1. 1. occurs within an inclusive model framework
  2. works best if implemented as a whole-of-government initiative
  3. seeks to build healthy communities by providing opportunities for arts, tourism, sport and recreation being provided for all people.

Among the conclusions, this model can be an agent of social change. That is, they can show the way for other sectors to be inclusive. Barriers to inclusion were identified as institutional, physical, economic and attitudinal. Being inclusive at the planning stage of any project, activity or service is also a way forward. Recommendations include the need for institutional policies on inclusion, accurate information for people with disability, and targeted intervention strategies to address barriers to inclusion. There’s more in the report. A comprehensive report with key recommendations linked to conclusions. Although published in 2012, many recommendations are still pending across Australia. The title of the report is, Inclusive Arts, Tourism, Sport and Recreation for People with a Disability: Ways Forward Report. Deakin University carried out the research. A related publication by Simon Darcy looks at barriers to participation in sport. It can be downloaded from ResearchGate.

Captioning and Subtitles

Front page of the video - deep yellow background with white text and an Auslan interpreter is standing ready

What is the difference between captions and subtitles? This is a common question. Captioning can be done live as people speak, or it can be added to recorded video. Subtitles are translations from another language. What’s interesting is that most people can read captions and subtitles quite quickly. The Australian Government has produced an interesting video showing how captioning is done. It is a behind the scenes look and captioners tell how they do it. You can see them at their desks in action. One point of interest is that programs made overseas often have captions, but they don’t always come with the program when a network buys it. Intellectual property rights become problematic and in the end it is often quicker and cheaper to re-do the captions here in Australia. So that might account for why SBS is more likely to have uncaptioned programs than some other networks – unless they are subtitled of course. There is a second video showing how to turn captions on.

Subtitles

So how fast should subtitles be shown? It seems most of us can read subtitles more quickly than first thought. Recent research revealed that the golden standard of the six second rule doesn’t have any (traceable) evidence to back it up. Now that we know people watch audio-visual materials more frequently with subtitles and captions, this is an important topic – what is the optimum speed? A study from Europe found it isn’t one-size-fits all. They found that viewers can keep up with fast subtitles and that slow speeds can actually be annoying. However, future research needs to include a wider range of people with different levels of reading skill. The title of the paper is, Viewers can keep up with fast subtitles: Evidence from eye movements. Editor’s Note: Some set-ups allow you to increase the speed of the video and still read the captions. I can get all the content of a ten minute video in five to seven minutes this way.

Inclusion as Choice in Museums and Galleries

Museums and galleries are starting to get the hang of being more inclusive so that more visitors can access their content. Co-designing with visitors rather than for them is an important step forward. Using imagined visitors or personas isn’t the same thing.

The outcome of Janice Rieger’s research on co-designing was that most participants wanted choice on how to engage with the work or exhibitions. She explains the research took a turn from inclusion as universal to inclusion as choice. For example, with audio descriptions, some wanted to sit and put headphones on to listen. Others wanted the audio descriptions to filter into the exhibition spaces. Some wanted to use their own devices.

Rieger’s article outlines her case study of Vis-ability: Artworks from the QUT Art Collection. The 12 co-designed outputs were:

– 3 Audio Description Pods
– Augmented Reality Simulation Goggles
– Simulation video of a museum visitor who is blind
– Tactile Model based upon Catherine Parker’s painting, Present portal, 2017.
– Soundscape based upon Catherine Parker’s painting, Present portal, 2017.
– Touch/Descriptive Tours
– Sensitivity Staff Training
– Co-designed Public Programs
– Curriculum and Workshops for High School Groups
– Inclusive Exhibition Catalogue (with audio links and a plain language summary)

The full title of the article is, Moving Beyond Visitor and Usability Studies: Co-designing Inclusion in Museums and Galleries. It is open access from Queensland University of Technology.

Abstract: Museums and galleries have made efforts to be more inclusive over the last ten years, primarily through the emphasis on visitor studies, however they continue to have issues with making their environments and content accessible. This research addresses these issues and presents an alternative approach to creating inclusion in museum and galleries through co-design. By using co- design methods to actively engage people with differing abilities, this study creates new trajectories for inclusion that address the full spectrum of need and choice, for all users of the museum and gallery. Moving beyond visitor studies, the research presents new methods and strategies for museums and galleries when designing for inclusion. This paper presents key findings from case study research undertaken through the Vis-ability exhibition in Australia, to propose alternative ways of creating inclusion in museums and galleries, and how co- design can deepen our understanding of design for all.

Category: Art, Museums and Culture