๐˜‹๐˜ฆ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜Š๐˜ข๐˜ฑ๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ด: ๐˜‹๐˜ช๐˜ด๐˜ณ๐˜ถ๐˜ฑ๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ณ๐˜ช๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต๐˜ด ๐˜ธ๐˜ช๐˜ต๐˜ฉ ๐˜ต๐˜บ๐˜ฑ๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฑ๐˜ฉ๐˜บ, ๐˜ค๐˜ฐ๐˜ญ๐˜ฐ๐˜ณ, ๐˜ช๐˜ค๐˜ฐ๐˜ฏ๐˜ด, ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฆ๐˜ง๐˜ง๐˜ฆ๐˜ค๐˜ต๐˜ด

Alie, AI, in The 100, a white 30s brunette woman with long hair over her right shoulder and to the front, wearing a red dress with a black accent, presented with custom creative font style by Sean Zdenek for her lines, "Your thoughts are chemical. Mine are digital."
Caption copyright Sean Zdenek.

Sean Zdenek's webtext ๐˜‹๐˜ฆ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜Š๐˜ข๐˜ฑ๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ด: ๐˜‹๐˜ช๐˜ด๐˜ณ๐˜ถ๐˜ฑ๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ณ๐˜ช๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต๐˜ด ๐˜ธ๐˜ช๐˜ต๐˜ฉ ๐˜ต๐˜บ๐˜ฑ๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฑ๐˜ฉ๐˜บ, ๐˜ค๐˜ฐ๐˜ญ๐˜ฐ๐˜ณ, ๐˜ช๐˜ค๐˜ฐ๐˜ฏ๐˜ด, ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฆ๐˜ง๐˜ง๐˜ฆ๐˜ค๐˜ต๐˜ดย is a fascinating read and uplifting reprieve from the doldrums of a world full of craptions.

"Re-imagined boundaries" in captioning of the future and making room for innovation: "In caption studies, we need to imagine film space differently." He says, "It is time to make room for captions." It's an exciting, provocative and blessedly creative look at custom captioning experimentation.

Abstract

In this webtext, I experiment with novel forms of audiovisual accessibility. Enhanced captioning (also called kinetic, embodied, integral, dynamic, and animated captioning) offers radical alternatives to the taken-for-granted landscape of captioning and sonic accessibility. It disrupts norms and asks us to imagine different disability futures. By blending form and meaning, enhanced captions become integral components of the creative text instead of add-ons or afterthoughts. At the least, they force us to reflect on the problematic relationships between programs and captions, producers and captioners, and how we might bring them closer together.

Read the text at https://lnkd.in/eRd2Fw7ย 

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