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An exhibition shaped by time.⁠
Voices heard across generations.⁠
⁠
The Maze: Reimagined, back ↑ notes artists Jon Tjhia and Fayen d’Evie reflect on the exhibition’s history and evolution.⁠
⁠
Now showing until Saturday 16 May.⁠
⁠
📅 Wednesday to Saturday, 11am to 3pm⁠
📍 Walker Street Gallery and Arts Centre⁠
⁠
Find out how more about The Maze: Reimagined, back ↑ notes via our link in bio.

@miriamlarosa
@infojewels
@fkxde

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

In late 2025, Walker St Gallery and Arts Centre curator @miriamlarosa commissioned us to respond to The Maze — a large‑scale papier‑mâché installation, created in 1991 by more than 100 young people from migrant and refugee backgrounds from Warragul, Tallangatta, Warrnambool and Springvale, gathered and guided by artist Suesy Circosta. Miriam sought to bring it out of storage and into a contemporary context.

back ↑ notes is our layered response to its spirit and legacy. It opened at Walker St in March, and runs until 17 May. We’ve deconstructed the original format of the installation, surrounding its panels with a dispersed field of community annotations: voice notes and asynchronous captions that reflect back on The Maze and the relevance of its themes today. It’s a celebration of the sensory richness of the panels as well as ideas of utopia and dystopia — what stands between where we are now, and either of those futures becoming reality. How could we deal with struggle, hurt or conflict? Who has power? What can we build together?

Find out more at https://www.greaterdandenong.vic.gov.au/jon-tjhia-and-fayen-devie-maze-reimagined-back-notes (or tinyurl.com/back-up-notes). Caption continued in pinned comments; image descriptions in alt text.

Last week, we made a collaborative recording at Walker Street Gallery and Arts Centre with Fathiah, Jan and Caesar. We talked about the sounds we make and the ideas we each carry to make sense of the moment; we decided how we might say or sing these together, and we taped our collective voicing. We did this as part of our preparations for a new commission to open at the gallery in early March. It was heaps of fun and it sounded great!

As we spend the next few weeks working hard on this project, we're looking for people with connections to the broader Dandenong/Springvale area, as well as Warragul, Warrnambool and Tallangatta. Is this you? Know someone else?

We're looking to make more recordings with community collaborators – either in small IRL sessions, or one-on-one. These recordings centre around ideas for living, our 'universal' truths and the words that help us make sense of the world.

Please DM us if you have a lead or would like to know more!

We also invite anybody in so-called Victoria, or with connections to the aforementioned areas, to record a voice memo for us — you can find much more info at voicememo.cargo.site, which you can also visit via our linktree.

These recordings, edited together, will be captioned. Image descriptions for this post are in alt text.

(Thank you @cityofgreaterdandenong @connectionartsspace … and AB Bakery for the goods!)

Last week, we made a collaborative recording at Walker Street Gallery and Arts Centre with Fathiah, Jan and Caesar. We talked about the sounds we make and the ideas we each carry to make sense of the moment; we decided how we might say or sing these together, and we taped our collective voicing. We did this as part of our preparations for a new commission to open at the gallery in early March. It was heaps of fun and it sounded great!

As we spend the next few weeks working hard on this project, we're looking for people with connections to the broader Dandenong/Springvale area, as well as Warragul, Warrnambool and Tallangatta. Is this you? Know someone else?

We're looking to make more recordings with community collaborators – either in small IRL sessions, or one-on-one. These recordings centre around ideas for living, our 'universal' truths and the words that help us make sense of the world.

Please DM us if you have a lead or would like to know more!

We also invite anybody in so-called Victoria, or with connections to the aforementioned areas, to record a voice memo for us — you can find much more info at voicememo.cargo.site, which you can also visit via our linktree.

These recordings, edited together, will be captioned. Image descriptions for this post are in alt text.

(Thank you @cityofgreaterdandenong @connectionartsspace … and AB Bakery for the goods!)

Last week, we made a collaborative recording at Walker Street Gallery and Arts Centre with Fathiah, Jan and Caesar. We talked about the sounds we make and the ideas we each carry to make sense of the moment; we decided how we might say or sing these together, and we taped our collective voicing. We did this as part of our preparations for a new commission to open at the gallery in early March. It was heaps of fun and it sounded great!

As we spend the next few weeks working hard on this project, we're looking for people with connections to the broader Dandenong/Springvale area, as well as Warragul, Warrnambool and Tallangatta. Is this you? Know someone else?

We're looking to make more recordings with community collaborators – either in small IRL sessions, or one-on-one. These recordings centre around ideas for living, our 'universal' truths and the words that help us make sense of the world.

Please DM us if you have a lead or would like to know more!

We also invite anybody in so-called Victoria, or with connections to the aforementioned areas, to record a voice memo for us — you can find much more info at voicememo.cargo.site, which you can also visit via our linktree.

These recordings, edited together, will be captioned. Image descriptions for this post are in alt text.

(Thank you @cityofgreaterdandenong @connectionartsspace … and AB Bakery for the goods!)

After moving last year into an apartment within the former Kew Asylum for Lunatics, artist Fayen d’Evie began to feel her way through the early history of asylums in Victoria, and the language and ‘progressive’ politics of the Victorian eugenicists.

She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate (Boston) will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Nelly Kate will lead a public workshop, experimenting with methods for roving captions; then close out the afternoon with a sound performance with prepared tape recordings from in and around Kew Asylum.

1 - 4.30pm
Sat 8th November
KINGS artist run
69 Capel St., West Melbourne
Free, but bookings essential via the link in our bio

This event is presented at Kings ARI in collaboration with La Trobe Art Institute. It accompanies and extends the exhibition ‘Healing: Art and Institutional Care’, on view at LaTrobe Art Institute, Bendigo, until Nov 9. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia.

For any access requirements please get in touch with
beatrice@kingsartistrun.org.au
drinks kindly by @heapsnormaland @littlebrunswickwineco

Photos: Jon Tjhia

@creative.australia @artshouse @wearestudiosorg @accesslabandlibrary @cityofmelbourne

Image descriptions in alt text

After moving last year into an apartment within the former Kew Asylum for Lunatics, artist Fayen d’Evie began to feel her way through the early history of asylums in Victoria, and the language and ‘progressive’ politics of the Victorian eugenicists.

She invited a temporary, disability-led collective of artists, writers, performers, designers and architects from so-called Australia, the US and the UK to gather. Together, the Language of Lunacy (LoL) collective have been reimagining an asylum as a place where people who refuse normalcy can individually and collectively hallucinate, perform, and construct temporary communities within which to live, dream, luxuriate in rest, and co-create.

Through performances and a creative captioning workshop, Fayen and fellow LoL artists Jon Tjhia and Nelly Kate (Boston) will share a few loose threads from LoL’s recent investigation of the fortnightly lunatic balls at the Kew Asylum. Nelly Kate will lead a public workshop, experimenting with methods for roving captions; then close out the afternoon with a sound performance with prepared tape recordings from in and around Kew Asylum.

1 - 4.30pm
Sat 8th November
KINGS artist run
69 Capel St., West Melbourne
Free, but bookings essential via the link in our bio

This event is presented at Kings ARI in collaboration with La Trobe Art Institute. It accompanies and extends the exhibition ‘Healing: Art and Institutional Care’, on view at LaTrobe Art Institute, Bendigo, until Nov 9. It arises from a creative exchange hosted by Access Lab and Library, MIT Spatial Sound Lab and We Are Studios, supported by an Arts House Warehouse Residency, City of Melbourne Arts Grants and Creative Australia.

For any access requirements please get in touch with
beatrice@kingsartistrun.org.au
drinks kindly by @heapsnormaland @littlebrunswickwineco

Photos: Jon Tjhia

@creative.australia @artshouse @wearestudiosorg @accesslabandlibrary @cityofmelbourne

Image descriptions in alt text

Rolling out the first of ALL’s online workshops! This event also introduces ALL collaborator Joseph Rizzo Naudi, a blind writer and facilitator based in London, United Kingdom.

Guided by Joseph, participants will explore collaborative, blindness-led description of archival images and artworks. During the two-hour workshop, we will co-create a new, self-contained, language-based artwork, and reflect on experimental image description processes and practices.

Joseph says: ‘Preparation heavily discouraged. Come as you are. Non-blind people or those who identify as visually-dependent also welcome. Wear what you like. BYOB (bring your own body).’

Monday 26th May 2025
7–9pm (Naarm/AEST)
10am–12pm (London/BST)

Book now at:
https://events.humanitix.com/archives-of-lunacy (or hit the Linktree in our bio)

Speaking of bios … 

Joseph Rizzo Naudi is a blind writer and facilitator based in London, United Kingdom. He is a Techne postgraduate researcher at Royal Holloway, University of London, where he is exploring artwork description, fiction technique and blindness as a generative approach.

Joseph is co-founder of DesCript (@descript.art), which uses blind approaches to create multimodal artworks that describe and document exhibitions. His writing has been supported by Arts Council England, the Arts & Humanities Research Council and Spread The Word’s London Writers Awards. More at https://josephrizzonaudi.com.

Oh – and he’s at @joeraudi. Hi Joe!

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Rolling out the first of ALL’s online workshops! This event also introduces ALL collaborator Joseph Rizzo Naudi, a blind writer and facilitator based in London, United Kingdom.

Guided by Joseph, participants will explore collaborative, blindness-led description of archival images and artworks. During the two-hour workshop, we will co-create a new, self-contained, language-based artwork, and reflect on experimental image description processes and practices.

Joseph says: ‘Preparation heavily discouraged. Come as you are. Non-blind people or those who identify as visually-dependent also welcome. Wear what you like. BYOB (bring your own body).’

Monday 26th May 2025
7–9pm (Naarm/AEST)
10am–12pm (London/BST)

Book now at:
https://events.humanitix.com/archives-of-lunacy (or hit the Linktree in our bio)

Speaking of bios … 

Joseph Rizzo Naudi is a blind writer and facilitator based in London, United Kingdom. He is a Techne postgraduate researcher at Royal Holloway, University of London, where he is exploring artwork description, fiction technique and blindness as a generative approach.

Joseph is co-founder of DesCript (@descript.art), which uses blind approaches to create multimodal artworks that describe and document exhibitions. His writing has been supported by Arts Council England, the Arts & Humanities Research Council and Spread The Word’s London Writers Awards. More at https://josephrizzonaudi.com.

Oh – and he’s at @joeraudi. Hi Joe!

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

In collaboration with 'Deep Time Real Time' curators and artists, Access Lab and Library (ALL) have developed a suite of access resources, including a tactile floorplan, image descriptions, and audio descriptions of works. ⁠
⁠
We welcome you to explore the access resources for ‘Deep Time Real Time’ on the Design Hub Gallery website via the link in our bio. ⁠
⁠
Join Access Lab & Library at 1PM this Saturday 17 May for a workshop exploring image description as a practice of quiet noticing, and an antidote to restlessness. The workshop will introduce guided perceptual exercises that slow the consumption of imagery, with space for collective reflection. ⁠
⁠
Together, we’ll explore how describing artworks—in our own words and through others’—can uncover layers of meaning, foster connection, and offer access through generous exchange. ⁠
⁠
@accesslabandlibrary

See comments for alternative text description.
⁠
- ⁠
⁠
Creative direction by Fleur Watson. Co-curated by André Bonnice, Anna Jankovic and Fleur Watson. Exhibition design by Simulaa. Graphic design by Stuart Geddes and Žiga Testen. Access consultancy by Access Lab and Library (ALL). ⁠ ⁠ ⁠
⁠ ⁠
#DeepTimeRealTime #2025AlastairSwaynLegacyExhibition ⁠ ⁠ ⁠
⁠ ⁠ ⁠
@alastairswaynfoundation @somethingtogether @simulaa_ @rmitarchitecture @interiordesign.rmit @rmituniversity ⁠
⁠
Image: Joel Sherwood Spring, 'HOLECODED', 2025, in 'Deep Time Real Time', RMIT Design Hub Gallery, Carlton, 2025. Photo by Christian Capurro.

In collaboration with 'Deep Time Real Time' curators and artists, Access Lab and Library (ALL) have developed a suite of access resources, including a tactile floorplan, image descriptions, and audio descriptions of works. ⁠
⁠
We welcome you to explore the access resources for ‘Deep Time Real Time’ on the Design Hub Gallery website via the link in our bio. ⁠
⁠
Join Access Lab & Library at 1PM this Saturday 17 May for a workshop exploring image description as a practice of quiet noticing, and an antidote to restlessness. The workshop will introduce guided perceptual exercises that slow the consumption of imagery, with space for collective reflection. ⁠
⁠
Together, we’ll explore how describing artworks—in our own words and through others’—can uncover layers of meaning, foster connection, and offer access through generous exchange. ⁠
⁠
@accesslabandlibrary

See comments for alternative text description.
⁠
- ⁠
⁠
Creative direction by Fleur Watson. Co-curated by André Bonnice, Anna Jankovic and Fleur Watson. Exhibition design by Simulaa. Graphic design by Stuart Geddes and Žiga Testen. Access consultancy by Access Lab and Library (ALL). ⁠ ⁠ ⁠
⁠ ⁠
#DeepTimeRealTime #2025AlastairSwaynLegacyExhibition ⁠ ⁠ ⁠
⁠ ⁠ ⁠
@alastairswaynfoundation @somethingtogether @simulaa_ @rmitarchitecture @interiordesign.rmit @rmituniversity ⁠
⁠
Image: Joel Sherwood Spring, 'HOLECODED', 2025, in 'Deep Time Real Time', RMIT Design Hub Gallery, Carlton, 2025. Photo by Christian Capurro.

Announcing our next round of drop-in access clinics. These drop-ins are intended for artists, independent companies or producers who’ve been looking to extend their engagement with sensory access, but have encountered a barrier – or just gotten stuck on a next step.

They’re free, and we’re offering two sessions through our day to accommodate people in different timezones and with different schedules.

As for us? We specialise in low- and no-cost strategies and creative techniques, and technology that is oriented around social and cultural priorities. We’re also happy to help you think through planning for more ambitious access commitments.

All welcome at any level, and no appointments necessary. Don’t be shy – just come by!

Find out how to attend, including localised times and a Zoom link, at https://clinic.accesslab.world.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

(Image descriptions in alt text.)

Announcing our next round of drop-in access clinics. These drop-ins are intended for artists, independent companies or producers who’ve been looking to extend their engagement with sensory access, but have encountered a barrier – or just gotten stuck on a next step.

They’re free, and we’re offering two sessions through our day to accommodate people in different timezones and with different schedules.

As for us? We specialise in low- and no-cost strategies and creative techniques, and technology that is oriented around social and cultural priorities. We’re also happy to help you think through planning for more ambitious access commitments.

All welcome at any level, and no appointments necessary. Don’t be shy – just come by!

Find out how to attend, including localised times and a Zoom link, at https://clinic.accesslab.world.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

(Image descriptions in alt text.)

Announcing our next round of drop-in access clinics. These drop-ins are intended for artists, independent companies or producers who’ve been looking to extend their engagement with sensory access, but have encountered a barrier – or just gotten stuck on a next step.

They’re free, and we’re offering two sessions through our day to accommodate people in different timezones and with different schedules.

As for us? We specialise in low- and no-cost strategies and creative techniques, and technology that is oriented around social and cultural priorities. We’re also happy to help you think through planning for more ambitious access commitments.

All welcome at any level, and no appointments necessary. Don’t be shy – just come by!

Find out how to attend, including localised times and a Zoom link, at https://clinic.accesslab.world.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

(Image descriptions in alt text.)

Announcing our next round of drop-in access clinics. These drop-ins are intended for artists, independent companies or producers who’ve been looking to extend their engagement with sensory access, but have encountered a barrier – or just gotten stuck on a next step.

They’re free, and we’re offering two sessions through our day to accommodate people in different timezones and with different schedules.

As for us? We specialise in low- and no-cost strategies and creative techniques, and technology that is oriented around social and cultural priorities. We’re also happy to help you think through planning for more ambitious access commitments.

All welcome at any level, and no appointments necessary. Don’t be shy – just come by!

Find out how to attend, including localised times and a Zoom link, at https://clinic.accesslab.world.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

(Image descriptions in alt text.)

Access Clinic

Access Lab & Library (ALL) - Access Clinic
Thursday 6th Feb 3-7PM.
Free, bookings recommened.

What is access, and what could – or should – it be for artists? What does it mean for access to be temporary and collectively-held? And when it’s embedded early in the life of a work, what possible experiences could it invite? 

For an afternoon at CONDUCTION, Access Lab & Library (ALL) will host Drop-in Access Clinic & Library: free 20 minute access consultations for artists, producers, and anyone looking to embed expanded ideas of access in their creative works. 

Bring your project or practise in for a discussion with us. Make a booking, or come in for a chat when you can. There are ten consultation slots available, which can be reserved online.

In addition to these one-on-one discussions, we’ll open our library of access texts for reading in the space, and offer experimental tactile prints for sale

@accesslabandlibrary 
www.accesslab.world

This project was supported by Maribyrnong City Council’s “Creative Places Program”  @ artsandculturemcc 

Access Lab and Library is supported by the Victorian Government through Creative Victoria. 
#CreativeState

See next comment for image description and access info

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

A couple of Wednesdays ago – on the invitation of the curators of Next in Audio at @artscentremelbourne (@amruta_nargundkar , @weirdalpianobar , @ryan.powderly ) – we spoke to the spatiality of sound (as distinct from audio) … and followed it with our first spatial captioning experiment, using the new multiple instance functions of the live captioning tool that @lloydmst has been developing in collaboration with @j4k3b0n1n.

It was a thrill and a privilege to do this for the very first time in collaboration with more than 30 workshop attendees; to witness and prod its possibilities together. Thank you to everyone who came and embraced this exercise with openness and spirit! (And thanks to @weirdalpianobar and Sam for letting us shunt two dozen screens around the studio without shedding a single drop of perspiration.)

In the video slide (sixth in the carousel), some people walk around the workshop space with balloons, brushes, radios and other instruments. On various screens, meanwhile, captions describe either the prerecorded sounds or those being newly and spontaneously created in the room.

Hot on the heels of this, we'll be collaborating on a (remote) spatial captioned performance with @ecstatic.magic and @whiskeysaurus this week. It'll take place at MIT Spatial Sound Lab, on the traditional lands of the Wampanoag Nation and Massachussetts people; we'll be languaging sounds from the unceded Country of the Wurundjeri-willam.

Access Lab & Library is supported by the Victorian Government through Creative Victoria. #creativestate @creative_vic

Image descriptions in alt text. Photos by @infojewels.

#writing #captioning #spatial #spatialaudio #spatialsound #livecaptions #lovecaptions #access #accessibility #sensory

Is sound the same as audio? If we can't hear audio, can we still meaningfully participate in a sound experience? If there's only audio, can we still experience visual worlds? Access Lab & Library will present a session on experimental uses of spatialised audio and live captioning to make sound more accessible and exciting in live performance, exhibitions and other media.
18th Sept, 7 - 9 PM. Register at link in bio.

[Image description: A gold gradient triangle graphic reaches into the square image from the left, bearing white text which reads “Next in Audio. Access Lab & Library on non-standard spatialise audio and creative live captioning. Wed 18th Sep 2024. 7 PM - 9 PM. Arts Centre Melbourne. Free to register.” Beneath the gold triangle, we see part of two wide TV screens hung from the wall of a performance space, which is in near-total darkness. The screens’ backgrounds are a fresh blue and there's bold yellow text on it, kind of like the colours of the Swedish flag. The text reads: ‘High winds a-blowin’, the mighty storm is a-brewin’…’. Above it, in smaller typewriter font and square brackets, ’throaty tones of / a high-strung ballad shimmer’ span the two screens. On the bottom right of the image, in the darkness of space, is a cream Heck Media logo.]

Background image by Jon Tjhia.

Three weeks ago, in the midst of planning our next steps as Access Lab & Library, we spent an hour or two with Nelly Kate – experimenting with live performance and collective captioning across about 17,000km … or a few milliseconds of time displacement over our internet connections.

Nelly Kate is one of our dear collaborators on ~~~~~“…derelict in uncharted space…” and a Massachusetts-based access coconspirator deeply driven by sense, time and magic. For this performance workshop, she drew a sonic world from synthesisers, tape, signal processors and voice. In Naarm, we replicated it on loudspeakers as we each captioned it in real-time, using the tool developed for October’s show.

Here are some short excerpts of the performance – we’re calling these experiments ‘smalls’, and plan on sharing more of them as we attempt various things over coming years, months, hours. Lloyd and Fayen are currently visiting Nelly in Boston for of a series of workshops and discussions this week, exploring tactile printing, captioning, spatial sound, access-driven XR, sonification and publishing.

We undertake this work and these experiments with the heavy knowledge that we are in the throes of multiple mass disabling events. Mindful of our communities, we look forward to a week of connecting with our peers and bringing you some promising new developments on ALL's future very soon.

@ecstatic.magic @lloydmst @fkxde @infojewels

(image descriptions in alt text)

Three weeks ago, in the midst of planning our next steps as Access Lab & Library, we spent an hour or two with Nelly Kate – experimenting with live performance and collective captioning across about 17,000km … or a few milliseconds of time displacement over our internet connections.

Nelly Kate is one of our dear collaborators on ~~~~~“…derelict in uncharted space…” and a Massachusetts-based access coconspirator deeply driven by sense, time and magic. For this performance workshop, she drew a sonic world from synthesisers, tape, signal processors and voice. In Naarm, we replicated it on loudspeakers as we each captioned it in real-time, using the tool developed for October’s show.

Here are some short excerpts of the performance – we’re calling these experiments ‘smalls’, and plan on sharing more of them as we attempt various things over coming years, months, hours. Lloyd and Fayen are currently visiting Nelly in Boston for of a series of workshops and discussions this week, exploring tactile printing, captioning, spatial sound, access-driven XR, sonification and publishing.

We undertake this work and these experiments with the heavy knowledge that we are in the throes of multiple mass disabling events. Mindful of our communities, we look forward to a week of connecting with our peers and bringing you some promising new developments on ALL's future very soon.

@ecstatic.magic @lloydmst @fkxde @infojewels

(image descriptions in alt text)

Three weeks ago, in the midst of planning our next steps as Access Lab & Library, we spent an hour or two with Nelly Kate – experimenting with live performance and collective captioning across about 17,000km … or a few milliseconds of time displacement over our internet connections.

Nelly Kate is one of our dear collaborators on ~~~~~“…derelict in uncharted space…” and a Massachusetts-based access coconspirator deeply driven by sense, time and magic. For this performance workshop, she drew a sonic world from synthesisers, tape, signal processors and voice. In Naarm, we replicated it on loudspeakers as we each captioned it in real-time, using the tool developed for October’s show.

Here are some short excerpts of the performance – we’re calling these experiments ‘smalls’, and plan on sharing more of them as we attempt various things over coming years, months, hours. Lloyd and Fayen are currently visiting Nelly in Boston for of a series of workshops and discussions this week, exploring tactile printing, captioning, spatial sound, access-driven XR, sonification and publishing.

We undertake this work and these experiments with the heavy knowledge that we are in the throes of multiple mass disabling events. Mindful of our communities, we look forward to a week of connecting with our peers and bringing you some promising new developments on ALL's future very soon.

@ecstatic.magic @lloydmst @fkxde @infojewels

(image descriptions in alt text)

Three weeks ago, in the midst of planning our next steps as Access Lab & Library, we spent an hour or two with Nelly Kate – experimenting with live performance and collective captioning across about 17,000km … or a few milliseconds of time displacement over our internet connections.

Nelly Kate is one of our dear collaborators on ~~~~~“…derelict in uncharted space…” and a Massachusetts-based access coconspirator deeply driven by sense, time and magic. For this performance workshop, she drew a sonic world from synthesisers, tape, signal processors and voice. In Naarm, we replicated it on loudspeakers as we each captioned it in real-time, using the tool developed for October’s show.

Here are some short excerpts of the performance – we’re calling these experiments ‘smalls’, and plan on sharing more of them as we attempt various things over coming years, months, hours. Lloyd and Fayen are currently visiting Nelly in Boston for of a series of workshops and discussions this week, exploring tactile printing, captioning, spatial sound, access-driven XR, sonification and publishing.

We undertake this work and these experiments with the heavy knowledge that we are in the throes of multiple mass disabling events. Mindful of our communities, we look forward to a week of connecting with our peers and bringing you some promising new developments on ALL's future very soon.

@ecstatic.magic @lloydmst @fkxde @infojewels

(image descriptions in alt text)

Three weeks ago, in the midst of planning our next steps as Access Lab & Library, we spent an hour or two with Nelly Kate – experimenting with live performance and collective captioning across about 17,000km … or a few milliseconds of time displacement over our internet connections.

Nelly Kate is one of our dear collaborators on ~~~~~“…derelict in uncharted space…” and a Massachusetts-based access coconspirator deeply driven by sense, time and magic. For this performance workshop, she drew a sonic world from synthesisers, tape, signal processors and voice. In Naarm, we replicated it on loudspeakers as we each captioned it in real-time, using the tool developed for October’s show.

Here are some short excerpts of the performance – we’re calling these experiments ‘smalls’, and plan on sharing more of them as we attempt various things over coming years, months, hours. Lloyd and Fayen are currently visiting Nelly in Boston for of a series of workshops and discussions this week, exploring tactile printing, captioning, spatial sound, access-driven XR, sonification and publishing.

We undertake this work and these experiments with the heavy knowledge that we are in the throes of multiple mass disabling events. Mindful of our communities, we look forward to a week of connecting with our peers and bringing you some promising new developments on ALL's future very soon.

@ecstatic.magic @lloydmst @fkxde @infojewels

(image descriptions in alt text)

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess

We’re humbled to share that this week, ~~~‘…derelict in uncharted space…’ won the Green Room Award for Design/Technical Achievement (Contemporary and Experimental), as well as being nominated for Outstanding Work in the same category.

This award honours the contributions of our entire team of collaborators, a community of artists and designers whose sensory interpretations form the backbone and heart of the show’s generous subjectivity. We’re deeply proud of this collective and extraordinary work hewn from an assembly of trust.

In the introduction to our stage show, blind xenolinguist and Astro Access ambassador Sheri Wells Jensen encourages us to be ambitious about our expectations of design. She says: ‘Space is more accessible than space industry people think it is. Space is a designed environment. We are deliberately creating both the structures and the culture in which we choose to live when we move into space. We have systems now that are irritating and stupid. We don't have to reproduce those. We want to build something better.’

Our primary method was to weave together intersensory experiments in communication, across space-time. And our guiding principle was abundant subjectivity: welcoming the full complexity of modes of perception, expression and performance.

The design and technical dimensions of our show owe nearly everything to access, and underscore its significance not only as a mechanism for justice but as a setting for creative exploration. Beyond this show, we hope to steer into uncharted space with other artists and organisations who want to treat access as an experimental field, as an expansion in welcome, and as a platform for generosity. That’s why we’ve created Access Lab & Library – to continue this work with an open door.

Critical recognition is far from the point of making work, but gathering together six months after the end of our show’s run, it’s a motivator and a great encouragement to keep pushing what’s possible into what exists. Thank you to everyone who has supported, and by extension become a part of, our small but rich universe.

#derelictinunchartedspace #access #startrek #contemporarydance #design #openaccess