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Auswahl der wissenschaftlichen Literatur zum Thema „Artwork accessibility“
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Zeitschriftenartikel zum Thema "Artwork accessibility"
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Baharom, Mohd Khairi, und Siti Ermi Syahira Abdul Jamil. „Studio Project on the Sculpture Entitled Retrospection and Prodigy Series“. Idealogy Journal of Arts and Social Science 6, Nr. 1 (28.04.2021): 27–34. http://dx.doi.org/10.24191/idealogy.v6i1.251.
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An artwork creation requires a particular process which involves knowledge, creativity and skill. The process demands the artist’s comprehension of the work’s issue that is usually incorporated in the artwork. This article discusses the process of sculpture that applies via the studio-based research method of which the study has integrated data investigation, progression of idea, fabrication of artwork and art criticism. This study determined a series of sculptures titled Retrospection and Prodigy made by Mohd Khairi Baharom (2012) which practiced the studio-based research method. To incorporate the critical issue in the sculpture, the studio project investigated the sculptor’s center of discussion that has been used in the phenomenological study approach. The sculptor’s childhood memory lives in rural areas with limited accessibility causing the expansion of his imagination and craft skills. This matter has motivated him to use his childhood reminiscence for the aesthetic content in the sculpture. The sculpture process involved several phases of studio projects such as data compilation, concept and form development, and artwork fabrication. The additional data of sculpture criticism has also been included in the article for better interpretation.
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Zhou, Tengchao. „Southern Wind Algorist: Merging Nine Algorithms with Nine Gay Stories Written in Classical Chinese“. Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, Nr. 4 (19.07.2024): 1–10. http://dx.doi.org/10.1145/3664212.
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This paper presents an immersive interactive art installation called Southern Wind Algorist, which explores the convergence of knowledge from multiple disciplines. The installation is situated at the intersection of media arts, Chinese studies, and gay & lesbian studies. It combines nine well-known algorithms in the history of computer graphics with nine gay stories written in classical Chinese. The resulting artwork is a unique fusion that has never been assembled before. The paper delves into the related works, the cultural context of the stories, the visual effects' relationship with the underlying themes, methodology, public reception, technical aspects, and sustainability. It also addresses issues related to the artwork's linguistics and visual accessibility. The installation creates a space for people to reflect on queer desires' historical perspectives and future trajectories and promotes cultural diversity.
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Rani, Rekha. „Metadata and its Elements for the Storage and Retrieval of Graphic Material and Artwork“. VEETHIKA-An International Interdisciplinary Research Journal 9, Nr. 2 (30.06.2023): 19–25. http://dx.doi.org/10.48001/veethika.2023.09.02.004.
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In today's digital age, the management and preservation of artwork have taken a digital turn, necessitating the use of advanced tools and methodologies. One such crucial aspect is metadata – the structured information that provides context, description, and organization to artistic creations. The current research delves into the diverse forms of metadata and their constituent elements utilized in the context of Graphic Material/Artwork across a range of institutions, museums, and galleries. Metadata standards, that aid in managing, describing, indexing, and ensuring the long-term preservation of digital information. This article will prove to be a valuable reference for professionals such as Fine Arts College Librarians, Archivists, Technicians, and other personnel involved in describing Graphic Material/Artwork. Within this piece, a presentation is made of the various metadata standards and their corresponding components, encompassing frameworks like Categories for the Description of Works of Art (CDWA), CDWA Lite, Dublin Core, VRA (Visual Resource Association) Core 4.0, RLG REACH (Record Export for Art and Cultural Heritage), and Object ID. These standards are employed to organize and characterize Graphic Materials/Artwork, underscoring the significance of metadata in the art world. This significance is highlighted by showcasing its diverse types, elements, and standards that collectively facilitate efficient organization, accessibility, and preservation.
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Gawlak, Agata, Paulina Kowalczyk und Joanna Stefańska. „Unconventional exhibition spaces as an example of the synergy of architecture and art“. Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, Nr. 1 (31.03.2020): 20–27. http://dx.doi.org/10.35784/teka.2414.
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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.
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Oh, Uran, Hwayeon Joh und YunJung Lee. „Image Accessibility for Screen Reader Users: A Systematic Review and a Road Map“. Electronics 10, Nr. 8 (16.04.2021): 953. http://dx.doi.org/10.3390/electronics10080953.
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A number of studies have been conducted to improve the accessibility of images using touchscreen devices for screen reader users. In this study, we conducted a systematic review of 33 papers to get a holistic understanding of existing approaches and to suggest a research road map given identified gaps. As a result, we identified types of images, visual information, input device and feedback modalities that were studied for improving image accessibility using touchscreen devices. Findings also revealed that there is little study how the generation of image-related information can be automated. Moreover, we confirmed that the involvement of screen reader users is mostly limited to evaluations, while input from target users during the design process is particularly important for the development of assistive technologies. Then we introduce two of our recent studies on the accessibility of artwork and comics, AccessArt and AccessComics, respectively. Based on the identified key challenges, we suggest a research agenda for improving image accessibility for screen reader users.
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Pande, I. Made Suandana Astika, I. Gede Bintang Arya Budaya und Padma Nyoman Crisnapati. „WebGL 3D Virtual Exhibition as a Media to Increase the Visibility of Digital Artwork“. JTIM : Jurnal Teknologi Informasi dan Multimedia 5, Nr. 3 (08.09.2023): 186–95. http://dx.doi.org/10.35746/jtim.v5i3.376.
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The ongoing digital transformation continues to shape various domains, including the realm of art, which adopts social media to digitally promote artworks. Nonetheless, physical art exhibitions maintain their allure as they provide a direct experiential interaction for visitors. Consequently, the development of exhibition platforms that amalgamate user experience with accessibility becomes imperative. One emerging solution involves leveraging information technology and multimedia for virtualization, such as utilizing WebGL for creating a 3D Virtual Exhibition (3DVE). Employing the ADDIE methodology and evaluating it through the Technology Acceptance Model (TAM), the assessments affirm the robust performance and positive responses of 30 participants towards WebGL 3DVE. This development yields practical benefits, particularly for artists seeking to enhance the visibility of their creations. Furthermore, the inherent ease of use and broad accessibility can expand the potential audience for enjoying artworks. The percentage acceptance rates according to TAM validate favorable responses across usability (88%), ease of use (74%), satisfaction (90.6%), and technological acceptance (84.6%). Thus, the deployment of WebGL 3DVE in art exhibition development showcases strong potential in delivering a deeper and more inclusive experiential journey.
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Rubio, Claudio, Nicolas A. Barriga, Ben Ingram, Huizilopoztli Luna-García und Felipe Besoain. „Exploring Procedural Content Generation of Environments for Virtual Museums: A Mixed-Initiative Approach“. Heritage 8, Nr. 4 (09.04.2025): 134. https://doi.org/10.3390/heritage8040134.
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Cultural heritage preservation and dissemination face significant challenges in the digital era, particularly in artifact representation, visitor experience personalization, and virtual exploration scalability. This paper presents a tool for the development of a virtual museum, introducing a new system that addresses the challenges of the design and arrangement of the virtual environment process with two integrated stages: (1) Museum Generator, a procedural tool for creating realistic and adaptable virtual museum environments and (2) Artwork Arrangement, an automated system that optimizes the placement of artifacts based on thematic and spatial considerations. The system is validated through a Grid Search Method experiment that seeks to identify the combination of genetic operators that maximizes performance in arranging artworks in a virtual museum and evaluate how modifications to these operators affect the performance of different evolutionary executions. Results indicate that the proposed approach provides an effective and scalable solution for contributing to the design and arrangement of a virtual environment for museums, fostering greater accessibility to cultural heritage and delivering personalized visitor experiences.
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Purchase, Sophie. „Applauders and authors: Notes on the profits and losses of audience engagement“. Journal of Arts Writing by Students 6, Nr. 1 (01.06.2020): 27–37. http://dx.doi.org/10.1386/jaws_00012_1.
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Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.
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Bobier, David, Kim Sawchuk und Samuel Thulin. „An Interview with David Bobier of VibraFusionLab“. Canadian Journal of Disability Studies 10, Nr. 2 (08.10.2021): 237–54. http://dx.doi.org/10.15353/cjds.v10i2.800.
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VibraFusionLab founder and director, David Bobier talks about the genesis of his explorations of vibration and accessibility in art-making, his current collaborations, the effects of the COVID-19 pandemic on vibrotactile artwork and issues of access, and the future of VibraFusionLab. He was interviewed by special issue editors Kim Sawchuk and Samuel Thulin on 23 November 2020. Bobier was co-curator of, and participating artist in, the Vibrations exhibition in Montreal, which launched in parallel with the VIBE symposium.
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Park, Gyeongbin, Sunggi Jo, Chanho Jung, Hyojin Choi, Taellim Hong, Jaeho Jung, Changjun Yang, Chao Wang, Jundong Cho und Sangwon Lee. „Design and Evaluation of Multisensory Interactions to Improve Artwork Appreciation Accessibility for the Visually Impaired People“. Korean Society for Emotion and Sensibility 23, Nr. 1 (31.03.2020): 41–56. http://dx.doi.org/10.14695/kjsos.2020.23.1.41.
Der volle Inhalt der QuelleDissertationen zum Thema "Artwork accessibility"
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Redon, Marjorie. „Τraitement d'image pοur la valοrisatiοn et l'accessibilité des οeuvres muséales“. Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC263.
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La question de l’accessibilité des œuvres muséales aux personnes présentant une incapacité visuelle (PPIVs) est régulièrement soulevée par les associations et les musées. De par leur nature, certaines œuvres, telles que les tapisseries médiévales, ne peuvent être touchées et ne sont que peu souvent accessibles via l’audio-description. Aussi, la création manuelle de représentations tactiles est coûteuse et complexe, limitant leur disponibilité dans les musées. La Tapisserie de l’Apocalypse et la Tapisserie de Bayeux sont deux exemples emblématiques. Ces deux œuvres d’art de grande envergure mesurant 104 m sur 4,5 m pour la première et 70 m sur 50 cm pour la deuxième, sont devenues au fil du temps les objets de nombreuses études. Bien que le Château d’Angers propose des visites guidées adaptées aux personnes aveugles et malvoyantes, celles-ci restent limitées et nécessitent la participation de plusieurs personnes. Au musée de la Tapisserie de Bayeux, un espace de découverte tactile est proposé mais seules trois des 58 scènes peuvent être explorées.Cette thèse aborde les problématiques d'inclusion dans les musées. Ce travail a été mené dans une volonté de rendre la perception des tapisseries médiévales accessible à un plus grand nombre de personnes. Ce travail propose ainsi une méthodologie innovante de création semi-automatique d’objets 3D à partir d’une simple photographie. Nous nous intéressons dans ce manuscrit aux possibilités offertes par les outils d’intelligence artificielle pour la création de bas-reliefs imprimés en 3D, rapidement et à moindre coût. Pour cela, nous étudions des algorithmes de segmentation tels que les Mask R-CNN ; et d'autres réseaux de neurones permettant de générer des images, comme les réseaux génératifs antagonistes (GANs). En plus de la possible génération d'impressions 3D permettant une exploration tactile des œuvres, nous devons nous intéresser à la pertinence de telles représentations. Afin de nous assurer que la solution proposée permette une meilleure autonomie dans l’appréciation de l’art, nous menons également une campagne d'évaluation auprès de PPIVs. Au final, nous visons à améliorer l'expérience muséale des personnes aveugles et partiellement aveugles par une augmentation de leur autonomie dans ces lieux de culture et renforcer leur satisfaction et leur motivation à découvrir ces trésors culturelsThe issue of accessibility to artworks in museums for visually impaired people (VIP) is frequently raised by associations and museums. Some works, such as medieval tapestries, by their very nature, cannot be touched and are often not accessible through audio-description. Moreover, the manual creation of tactile representations is costly and complex, limiting their availability in museums. The Apocalypse Tapestry and the Bayeux Tapestry are two iconic examples. These large-scale artefacts, measuring 104 m by 4.5 cm meters for the former and 70 m by 50 cm for the latter, have been the focus of numerous studies over the years. Although the Château d'Angers offers guided tours adapted for blind and partially sighted visitors, these remain limited and require the involvement of several people. At the Bayeux Tapestry Museum, there is a tactile discovery area, but only three of the 58 scenes have been adapted into tactile mock copies.This work is motivated by the challenges of inclusion in museums and aims to make the perception of medieval tapestries accessible to as many people as possible. We propose an innovative methodology for the semi-automatic creation of 3D objects from simple photographs. In this manuscript, we explore the possibilities offered by artificial intelligence tools to quickly and affordably create 3D-printed bas-reliefs. Specifically, we study segmentation algorithms like Mask R-CNN and image-generating neural networks such as generative adversarial networks (GANs). In addition to generating 3D prints that enable tactile exploration of artefacts, we also evaluate the relevance of these representations through experimentation with VIPs. Overall, our goal is to improve the museum experience for blind and partially sighted visitors by enhancing their autonomy in cultural spaces and increasing their satisfaction and motivation to discover these cultural treasures
Buchteile zum Thema "Artwork accessibility"
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Cezarotto, Matheus, Pamela Martinez und Barbara Chamberlin. „Developing Inclusive Games: Design Frameworks for Accessibility and Diversity“. In Game Theory - From Idea to Practice [Working Title]. IntechOpen, 2022. http://dx.doi.org/10.5772/intechopen.108456.
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All players should have the opportunity to play, engage with and enjoy a game, especially games that are designed to educate or transform the player. In addition to the game interface, mechanics and artwork, high quality games must also ensure that all players can use the controls, understand the context, receive information from the game, and have a sense of belonging to the world of the game, or ability to identify with messages and in-game worlds. Design teams may well have the desire to create games that are both accessible and representative of all players, but find the process of doing so overwhelming. Based on evolving work in an educational media studio, this chapter presents two frameworks to guide teams in reviewing the issues involved in accessibility, equity, diversity, inclusion and representation, with recommendations on steps to take towards integrating these design approaches into consistent development processes.
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Hai-Jew, Shalin. „Using Artmaking Generative AIs to Support Augmented Reality Learning Designs With Adobe Aero App“. In Inquiries of Pedagogical Shifts and Critical Mindsets Among Educators, 132–52. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-1078-6.ch006.
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The making of augmented reality for mobile learning is a complex endeavor. The visual materials needed for such builds may be time-consuming to create given technological requirements. The emergence of artmaking generative AI (GAI) tools provides opportunities for to fast-track some of the work, in all phases: the design (research, brainstorming, color palette selection, visual elements, drafting, compositing, pilot testing, and others), the development (the creation of the various elements, alpha and beta testing), and the deployment (the release of the works into production). This chapter explores the work needed to co-create artworks with generative AIs, the visual editing required (right-sizing, color changes, outlining, formatting, and others), the accessibility design, the usability design, and other efforts to ensure effective augmented reality work for teaching and learning. Advances in GAI are also considered.
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Taşkıran, Hatun Boztepe. „Digitalization of Culture and Arts Communication“. In Handbook of Research on Examining Cultural Policies Through Digital Communication, 144–60. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6998-5.ch007.
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In today's world, it has become more significant to understand the effect of digital media on the communication of the contents about culture and arts, which are the common heritages of mankind. In this chapter, the concepts of digital communication, digital media, and digital publics which are the most concrete results of the digitalization process in communication was examined. Also, the digitalization of culture and arts communication was investigated in relation to the organizations working in the field of culture and arts and artists' adaptation to the digitalized communication processes; and the role of digital media was explored in connection with the communication process management of culture and arts contents. In research conducted as part of this study, the digitalization of culture and arts communication was evaluated by analyzing a sample application as a digital database and determining the perspectives of target audiences. According to the data obtained in the research, Google Arts & Culture, which has been investigated as part of the study as a sample application, should be benefitted from in the digital culture and arts communication thanks to the features it has. The application supports the accessibility of artworks and cultural products from any society for digital media users. As the data gathered during the interviews done to present target audiences' points of views about the digitalization of culture and arts communication indicate, digital communication offers important opportunities for target audiences in reaching arts and culture contents without time and place restrictions; and target audiences appreciate accessing to these contents free of charge.
Konferenzberichte zum Thema "Artwork accessibility"
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Chheda-Kothary, Arnavi, Jacob O. Wobbrock und Jon E. Froehlich. „Engaging with Children's Artwork in Mixed Visual-Ability Families“. In ASSETS '24: The 26th International ACM SIGACCESS Conference on Computers and Accessibility, 1–19. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3663548.3675613.
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Bi, Athena, und Carlos Gonzalez. „A Comprehensive Web Application for Art Showcasing Utilizing Generative AI for Art Therapy Applications“. In 6th International Conference on Artificial Intelligence and Big Data, 151–62. Academy & Industry Research Collaboration Center, 2025. https://doi.org/10.5121/csit.2024.150113.
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Art therapy is a proven method for fostering self-expression and supporting mental health, yet traditional approaches often require resource-intensive, manual analysis by therapists, limiting accessibility [1]. Our project addresses this gap by creating an AI-powered art therapy web application that enables users to upload artwork and receive personalized, therapeutic insights. By combining Firebase for user management, Python Flask for backend processing, and OpenAI for generating art interpretations, our platform bridges the expressive power of art with the analytical capabilities of AI [2]. Key challenges included integrating diverse technologies seamlessly and designing prompts that guide AI to interpret abstract and symbolic art effectively. These challenges were addressed through standardized API protocols and iterative prompt refinement. Experiments tested the AI's accuracy and consistency, showing strong alignment with expert interpretations for symbolic art and reliable outputs across multiple analyses. Our application democratizes access to art therapy, offering scalable, non-verbal pathways to self-discovery and mental wellness for a broader audience.
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Kwon, Nahyun, Youngji Koh und Uran Oh. „Supporting Object-level Exploration of Artworks by Touch for People with Visual Impairments“. In ASSETS '19: The 21st International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3308561.3354620.
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Brischetto, Alessia, Ester Iacono, Claudia Becchimanzi und Francesca Tosi. „Enhancing Inclusive Experience in Museums: results from a field study“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003334.
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Open access to culture and the possibility to experience and learn about art in museums are human rights that should be granted to everyone. However, very often the information accessible to users through the official channels of museums regarding independent visitation by individuals with a disability generally refers to accessibility in terms of mobility, and they also frequently provide incomplete information. Information related to independent enjoyment by people with sensory disabilities (visually impaired, blind, hearing impaired, deaf) is most often lacking, as the accessibility of the visit route is generally guaranteed in a pre-scheduled way and in the presence of mediators. This aspect limits the free enjoyment of the artworks by people with sensory disabilities and shows the lack of a real inclusive culture and adequate tools to guarantee the full right to visit independently, in their own way and time.This paper presents a part of the project “XAll - Tutta un’altra guida” (XAll - A whole other guide), funded by the TIM Foundation, which partners the University of Florence, the Polytechnic University of Milan, and the referents of 3 Florentine museums: Museo di Palazzo Vecchio, Museo Bardini and Museo Bargello. The overall objective of the project is to create an interactive, customizable and inclusive visit support, aimed at the overall population and designed to encourage a multisensory visit experience, realized by inserting tactile, sound and olfactory stimuli in the visit path of the 3 Museums involved and enhanced by the use of augmented reality. Specific objectives of the project are: to make cultural heritage accessible to visitors with all types of disability; to improve the quality of independent visitation in terms of engagement and customization of the experience; to encourage the dissemination of free applications in museum accessibility projects; and to provide an integrated framework and a set of open source tools for the development of applications in the same area.To achieve the overall objective, the project involved the application of the scientific and methodological approaches of Inclusive Design and Human-Centered Design. In detail, tor define user profiles during the preliminary design phase, the following researches were conducted: (1) On-site investigation of the three museums involved in the project; (2) Survey visits and field observations (in collaboration with experts from the museum institutions) at the three museums involved and with the associations ENS (Italian Association of the Deaf), UICI (Italian Union of the Blind and Visually Impaired), and HABILIA Onlus (Paratetraplegic and Motor Disabled Association); Collection and systematization of feedback and data collected during the observations, based on which it was possible to set up the development of the video guide project and multi-sensory stations to be included within the museums.The study of user profiles allowed to conduct early analysis of User-Museum interaction models through the following activities: identification of the requirements of mobile media and multi-sensory stations; development of User Journey Map and Scenarios; definition of the technical characteristics of the video guide.