Saturday, December 20, 2008
口述影像(Audio Description)
Cronin & King (1990) 認為: 所謂的口述影像是指，針對影像節目所提供的口語敍述服務；也就是當影片中之對白停頓，或本身之敍述暫停時，在不干擾節目成音的情況下，適時地將視障者無法收視之影像畫面加以敍述，為其提供系統之視覺成分的描繪服務，以輔助其觀賞影像節目。 (轉引自趙雅麗,2002,頁98)
Packer & Kirchner (1997) 提出「視覺元素包含時間和空間情境的說明，人物角色的關係、場景、佈景以及人物的肢體語言等」。(轉引自趙雅麗,2002,頁5)
由上述綜合可得知，口述影像是利用影片本身成音的留白處，將影像畫面中的情境、角色、場景等視覺訊息使用口語加以描述，協助視障者觀賞節目
有關更多口述影像(Audio Description)資料，可以參看：http://www.washington.edu/accessit/articles?79 http://www.rnib.org.uk/xpedio/groups/public/documents/publicwebsite/public_audiodescription.hcsp http://joeclark.org/access/description/ad-principles.html
about museum audio description: http://www.adinternational.org/samples/ADImuseum.html
audio sample: http://www.artbeyondsight.org/handbook/acs-verbalsamples.shtml
台灣的口述影像研究：
口述影像協會：http://www.dvs.org.tw/
關於口述影像的文章: http://www.jour.nccu.edu.tw/mcr/0070/04.html
Monday, September 8, 2008
和合設計Inclusive Design
什麼是和合設計? What is Inclusive Design?
「和合設計」(inclusive design) 的精神，在於設計過程中必須考慮某些社群 (如殘障人士/長者/小童/病人等) 的特殊需要，但設計方案亦要同時適用於主流市場。
「和合設計」(inclusive design) 的精神，在於設計過程中必須考慮某些社群 (如殘障人士/長者/小童/病人等) 的特殊需要，但設計方案亦要同時適用於主流市場。
英國標準協會把「和合設計」定義為「主流產品或服務的設計，在合理範圍內能讓儘量多的人使用或獲得……而毋須特別作出調節或專門設計」。
設計師需要了解在社會上被忽視一群的實際需要和期望，產品或服務的使用者是設計流程中不可或缺的環節，「和合設計」通過考量更多使用者的需要，改善產品或服務，使其適合更多用家，提高產品或服務的包容性。
和合設計48小時 - 香港 48 Hours Inclusive Design Challenge- Hong Kong
「共生共創」和合設計48小時 - 香港源於一年一度的「英國設計商會和合設計大賽」。該項比賽由英國皇家藝術學院的海倫．哈姆林中心與英國設計商會 (Design Business Association，簡稱DBA)合辦。自第一屆賽事於2000年在英國開始舉辦，至今已是第八屆。賽事為期五個月，參賽隊伍均在資深設計師的帶領下作賽。賽事曾於倫敦、日本、東京、奧斯陸及新加坡舉行。
「共生共創」和合設計48小時 - 香港源於一年一度的「英國設計商會和合設計大賽」。該項比賽由英國皇家藝術學院的海倫．哈姆林中心與英國設計商會 (Design Business Association，簡稱DBA)合辦。自第一屆賽事於2000年在英國開始舉辦，至今已是第八屆。賽事為期五個月，參賽隊伍均在資深設計師的帶領下作賽。賽事曾於倫敦、日本、東京、奧斯陸及新加坡舉行。
創新的和合設計方案開始在各地萌芽，範圍涵蓋產品、互動通訊、三維立體、環境、服務、視覺媒體等不同設計領域。
賽事目的 Aims
賽事的重點在於讓設計師與殘障人士在共同設計過程中建立新的夥伴關係，目標包括 :
1. 香港設計界及商界提昇和合設計對商業發展和創新的重要性；
2. 突顯殘障人士在設計過程中不可或缺的角色，積極推動共融社會；
3. 讓從事設計及有關教學工作的人士加深對和合設計的認識，培養對社會的責任感；
4. 透過英國文化協會的地區脈絡，成立一個包含上海、廣州、北京、重慶、新加坡、馬來西亞、韓國及澳洲設計團隊的全新東亞合作網絡；
5. 讓參賽者借鏡英國在和合設計方面的專業知識和成就，協助在中國及東亞地區從事設計和相關教學工作的人士，於創作過程中充分考慮殘障人士的需要；
6. 以殘障人士為創作過程的出發點，深入了解他們的需求，提倡和合共融的精神，使人人均受到尊重。
賽事目的 Aims
賽事的重點在於讓設計師與殘障人士在共同設計過程中建立新的夥伴關係，目標包括 :
1. 香港設計界及商界提昇和合設計對商業發展和創新的重要性；
2. 突顯殘障人士在設計過程中不可或缺的角色，積極推動共融社會；
3. 讓從事設計及有關教學工作的人士加深對和合設計的認識，培養對社會的責任感；
4. 透過英國文化協會的地區脈絡，成立一個包含上海、廣州、北京、重慶、新加坡、馬來西亞、韓國及澳洲設計團隊的全新東亞合作網絡；
5. 讓參賽者借鏡英國在和合設計方面的專業知識和成就，協助在中國及東亞地區從事設計和相關教學工作的人士，於創作過程中充分考慮殘障人士的需要；
6. 以殘障人士為創作過程的出發點，深入了解他們的需求，提倡和合共融的精神，使人人均受到尊重。
賽事日期: 2008年8月28至30日
Wednesday, September 3, 2008
Bed is where everyone is equal...maybe...
Bed is where everyone is equal...maybe...Or it might be in your sleep~
When sleeping, everybody is indeed equal.
What an interesting idea from the artist...L...^---^
What an interesting idea from the artist...L...^---^
Some of the images to think about bed or sleeping or lying down in a museum setting.
Monday, June 9, 2008
A Museum That Lets Its Visitors Become Part of the Art
Arts and Entertainment
A Museum That Lets Its Visitors Become Part of the Art
new_york_times:http://www.nytimes.com/2008/06/08/nyregion/nyregionspecial2/08artswe.html
By BENJAMIN GENOCCHIO
Published: June 8, 2008
Although I have always worried that audio devices in museums distract from the art, they are also pregnant with possibility. Halsey Burgund’s exhibition “Round,” at the Aldrich Contemporary Art Museum, takes on this subject, offering up a museum audio tour that solicits contributions from viewers and gives them equal voice in the discussion of art. It is what you might call a democratic approach to art interpretation.
Guests can learn to use the devices at a demonstration panel.
The project has its inspiration in today’s online world, where information is available, diffuse and participatory, engaging Web surfers in a process of dialogue and collaboration. Writing in the exhibition catalog, Nina Carlson, education director at the Aldrich, asks readers, “Why should experiencing art be any different?”
Mr. Burgund is a musician and sound artist who lives outside Boston. His installations and musical performances have often incorporated spoken voice recordings as improvisational elements, alongside traditional instruments.
The Aldrich, which contacted him two years ago about developing a new kind of audio tour, figured that, as a sound artist, he would have some interesting ideas. It turns out he did.
“Round” operates much like a standard audio guide, with recordings for key works in two of the museum’s current shows: “Charlotte Schulz: An Insufficiency in Our Screens” and “Painting the Glass House: Artists Revisit Modern Architecture.” These works are marked with wall labels and accessed via a small hand-held tablet computer with a touch screen. But unlike a traditional guide, it allows visitors to select from a wide range of voices sharing their views and perspectives — including those of curators, educators, artists and other visitors — and to add their own responses, which can, in turn, be retrieved by others. Mr. Burgund also created a similar guide to the museum itself, with information about its history, building, staff and ongoing exhibits.
The title refers to a musical round, in which two or more voices sing the same melody offset from one another. It is relevant insofar as the comments of visitors participating in the audio installation are collected remotely in a database of recordings, filed by category, then mixed together with other responses by computer algorithm and played back randomly in snippets, overlaid with other voices and electronic instrumental music.
Mr. Burgund’s ambition here was to create what he refers to in the exhibition catalog as “an equality of opinion,” in which no single viewpoint or perspective is privileged over any other. That is a noble sentiment, but how does it work as an educational tool? The truth is that while the audio guide is interesting as sound art, it is immensely frustrating for anyone seriously interested in using the device to get information about a work or an artist showing at the museum.
With voices stomping on each other, it is hard to learn anything at all — at least that was my experience with the guide created for the exhibition of charcoal-on-paper drawings by Charlotte Schulz. On one occasion, while I was listening to the guide, the sound of the artist speaking about the process of making her works was violently interrupted by a child listing the things she sees in a drawing in the show. Opinion is subjective, sure, but some opinions matter more than others. (Of course, as a critic, I may be slightly biased.)
Perhaps the question here is: Do knowledge and expertise matter in the interpretation of artwork in a way that they do not in the online assessment of, say, cars and cameras? Is not art defined precisely by its nonutilitarian purpose, deriving meaning not from efficiency of function, but from context, both historical and contemporary?
Of course, Mr. Burgund is an artist, not an educator, and this needs to be borne in mind. For him, the main point here is not so much to provide information about the artworks, but to create an experience that can enhance somebody’s time in the museum. To take pleasure in this oddball installation, you have to countenance such a motivation and get past all expectation that you will learn something from the audio guide.
As an artwork, Mr. Burgund’s installation is stimulating, presenting an intensified, encapsulated version of everyday life in the Internet age, in which blogs and sites like YouTube seek to actively involve their browsers. There are about 400 recorded responses to the Aldrich exhibitions, validating the artist’s faith in the participatory, democratic nature of new media. Maybe experiencing art is no different after all.
“Halsey Burgund: Round,” Aldrich Contemporary Art Museum, 258 Main Street, Ridgefield, Conn., through July 27. Information: (203) 438-4519 or www.aldrichart.org.
A Museum That Lets Its Visitors Become Part of the Art
new_york_times:http://www.nytimes.com/2008/06/08/nyregion/nyregionspecial2/08artswe.html
By BENJAMIN GENOCCHIO
Published: June 8, 2008
Although I have always worried that audio devices in museums distract from the art, they are also pregnant with possibility. Halsey Burgund’s exhibition “Round,” at the Aldrich Contemporary Art Museum, takes on this subject, offering up a museum audio tour that solicits contributions from viewers and gives them equal voice in the discussion of art. It is what you might call a democratic approach to art interpretation.
Guests can learn to use the devices at a demonstration panel.
The project has its inspiration in today’s online world, where information is available, diffuse and participatory, engaging Web surfers in a process of dialogue and collaboration. Writing in the exhibition catalog, Nina Carlson, education director at the Aldrich, asks readers, “Why should experiencing art be any different?”
Mr. Burgund is a musician and sound artist who lives outside Boston. His installations and musical performances have often incorporated spoken voice recordings as improvisational elements, alongside traditional instruments.
The Aldrich, which contacted him two years ago about developing a new kind of audio tour, figured that, as a sound artist, he would have some interesting ideas. It turns out he did.
“Round” operates much like a standard audio guide, with recordings for key works in two of the museum’s current shows: “Charlotte Schulz: An Insufficiency in Our Screens” and “Painting the Glass House: Artists Revisit Modern Architecture.” These works are marked with wall labels and accessed via a small hand-held tablet computer with a touch screen. But unlike a traditional guide, it allows visitors to select from a wide range of voices sharing their views and perspectives — including those of curators, educators, artists and other visitors — and to add their own responses, which can, in turn, be retrieved by others. Mr. Burgund also created a similar guide to the museum itself, with information about its history, building, staff and ongoing exhibits.
The title refers to a musical round, in which two or more voices sing the same melody offset from one another. It is relevant insofar as the comments of visitors participating in the audio installation are collected remotely in a database of recordings, filed by category, then mixed together with other responses by computer algorithm and played back randomly in snippets, overlaid with other voices and electronic instrumental music.
Mr. Burgund’s ambition here was to create what he refers to in the exhibition catalog as “an equality of opinion,” in which no single viewpoint or perspective is privileged over any other. That is a noble sentiment, but how does it work as an educational tool? The truth is that while the audio guide is interesting as sound art, it is immensely frustrating for anyone seriously interested in using the device to get information about a work or an artist showing at the museum.
With voices stomping on each other, it is hard to learn anything at all — at least that was my experience with the guide created for the exhibition of charcoal-on-paper drawings by Charlotte Schulz. On one occasion, while I was listening to the guide, the sound of the artist speaking about the process of making her works was violently interrupted by a child listing the things she sees in a drawing in the show. Opinion is subjective, sure, but some opinions matter more than others. (Of course, as a critic, I may be slightly biased.)
Perhaps the question here is: Do knowledge and expertise matter in the interpretation of artwork in a way that they do not in the online assessment of, say, cars and cameras? Is not art defined precisely by its nonutilitarian purpose, deriving meaning not from efficiency of function, but from context, both historical and contemporary?
Of course, Mr. Burgund is an artist, not an educator, and this needs to be borne in mind. For him, the main point here is not so much to provide information about the artworks, but to create an experience that can enhance somebody’s time in the museum. To take pleasure in this oddball installation, you have to countenance such a motivation and get past all expectation that you will learn something from the audio guide.
As an artwork, Mr. Burgund’s installation is stimulating, presenting an intensified, encapsulated version of everyday life in the Internet age, in which blogs and sites like YouTube seek to actively involve their browsers. There are about 400 recorded responses to the Aldrich exhibitions, validating the artist’s faith in the participatory, democratic nature of new media. Maybe experiencing art is no different after all.
“Halsey Burgund: Round,” Aldrich Contemporary Art Museum, 258 Main Street, Ridgefield, Conn., through July 27. Information: (203) 438-4519 or www.aldrichart.org.
Monday, April 21, 2008
Introduction
It has been some time since we set up this blog for our exhibition but it has been somewhat dormant. I think it is high time that we introduce ourselves in case anyone just wanders into this blog and gets curious about us.
This blog has been set up as an alternative channel for us the curators and the artists to communicate and update each others. So far…not so effective as we are the only ones using it. And so far not mush to update which is worthwhile to share.
Well…let’s introduce ourselves first. Charming Experience team consists of one curator called Grace and two assistant curators, Margaret and Mina.
What we are proposing and preparing is an exhibition that is for EVERYBODY.
You might asks, “Aren’t all the exhibitions for everybody?” You would think what the big deal is. But the truth is in many exhibitions, NOT everybody is able to enjoy. We would like to explore the possibility to have everybody, I mean EVERYBODY (albeit your gender, race, age, your abilities…) to have this experience. This harmonious experience!
In the coming posting I would update you on the upcoming news form us and the artists.
For the first few posting I would focus on the workshops we recently attended called “Express Diversity” organized by ADA (Arts with the Disabled Association).
I hope this will really be a charming experience for all.
Wednesday, March 5, 2008
Good Grip
This is the classic case of universal or inclusive design. The Good Grip from OXO company. Check out their company website! Tons of interesting and amazing yet simple ideas!!!!
Basically targeting the aged, this grip has enjoyed rave review for many many years!
Simple and beautiful~
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