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

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/