How do we communicate with each other? How can we subvert the ocular centricity of the “visual” arts? How can we create audio descriptions that are about more than accessibility, that are about further and more meaningful understanding, that are about enriched connection? 

In Objectivity & Language: the power of empathy in audio description Mayma Awaida and Tony Sarre discuss the language of audio description in the context of John Prince Siddon’s All Mixed Up at Fremantle Art Centre. Mayma and Tony question the didactic way that audio description represents exhibitions and instead argue for the inclusion of abstract and speculative as well as literal narrations. This is the first in a multi-part series in which they will examine disability culture and the arts within a Perth-specific context.

Mayma and Tony have been collaborators for two years. Tony is a script writer, director and film maker. His current body of work centres accessibility and the arts. Mayma is an Australia-Lebanese first generation immigrant, and writer and producer specialising in critical theory and identity politics. 

Mayma and Tony are both participants in the inaugural Perth Festival Visual Arts Writing Group, which is convened by Semaphore editor Kelly Fliedner. Objectivity & Language is presented in association with the 2020 Perth Festival, and is supported by the Visual Arts Program Partner Wesfarmers Arts.

For full audio transcript visit: https://semaphoreart.net/Objectivity-Language-1

Objectivity & Language: The power of empathy in audio description

As we settle into the rhythm of social distancing, we’re getting to know a new landscape of our society. Opening up ahead of us is a horizon that looks increasingly uninterrupted by openings, celebrations, gatherings of any kind. While this space draws one’s mind toward new plans, new platforms and what lies ahead past this tumult; it also allows time to stray from the well-worn paths of forward momentum. 
In this conversation recorded for Semaphore prior to current restrictions, siblings Nisha & Rushil D’cruz have undertaken an exercise in looking back. Combining collective reflections, memories and ruminations on the exhibition Kaseh Ibu which was held at Cool Change Contemporary in November 2019. It is also documentation of their own relationship revealing dynamics and born of physical proximity which may not be so achievable these days. 
Featuring work by Maimunah Abdullah, Rabiah Letizia, Abdul-Karim Abdullah, Abdul-Rahman Abdullah and Abdul Abdullah, Kaseh Ibu explored the influence of a mother on the artistic practices and life outlooks of her four children. At this moment in time, looking back, it provides a potent focus for consideration of the learning and sharing that comes from proximity; that not shared through structured engagement, but rather through habit, tradition, shorthand and everyday moments.

From the D’cruzs — A response to Kaseh Ibu by Nisha D’cruz and Rushil D’cruz

'Frames of Reference' is a series of conversations considering ideas of identity and governance, bureaucracy and power, creativity in light of regulation, the role of text to other arts, and collaborative relationships. It's a project about how creative work grows from initial ideas and personal practices, into collectives, groups, and projects larger than were originally imagined.

As part of the 'Fair Isle' exhibition at DADAA in Fremantle, Semaphore editors Kelly Fliedner and Melissa McGrath will meet with and gather information from industry leaders, peers and community members regarding processes for supporting arts practice in WA. We will record these exchanges and publish our reflections to share the process of thinking through making and document local histories and knowledge.

You can learn more about Frames of Reference here: https://semaphoreart.net/Frames-of-Reference-1

This recording is the 'Frames of Reference' introductory conversation, which took place in Kaarta Gar-up (Kings Park) between Kelly and Melissa. This is the first of many conversations we will host and record over the coming months. It aims to give some context to our thinking and hopes for how we consult with our community to solidify and define Semaphore’s movement into the future.

These conversations happen for us alongside the everyday. So, likewise, we encourage you to listen to this as you clean the dishes, wait for the bus or walk your dog—listen as you go about your day.

You can read the transcript here: https://semaphoreart.net/Introduction

Frames of Reference — Introduction

Semaphore is a weekly newsletter and publication. 

We publish individual and collective opinions, reviews, commentary and creative responses to art from Western Australia. We are interested in writing that reflects upon artistic practice, broader cultural themes and issues, and also examines the formal structures and mode of writing itself — what writing can be, and what it can offer visual art. We want to create a space where people can experiment with discursive responses ranging from contemporary and art historical analysis, to fictocriticism, poetry and prose.

We are interested in writing that creates conversation. How do we engage with art critically and creatively, avoid didacticism, grapple with ideas and uncertainty, and speak through dynamic subjectivities? How can we do this through conversation? How do we commune with each other? What is conversation as opposed to discourse, as opposed to speech-acts, as opposed to monologue, as opposed to dialogue, as opposed to narrative, as opposed to poetry?

Go to: https://semaphoreart.net/

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