Talk: Protest and PracticePast, Talk, Film, Online Thu 14 Oct, 6.30pm–8.30pm
Join us for a live, online talk and screening exploring captioning as protest and in practice with historian and disability scholar-activist, Jaipreet Virdi and creative captioners, Collective Text.
In this event, Jaipreet Virdi considers the social history of captioning and its roots in resistance, while Collective Text discuss their collaborative work as a form of protest.
As part of Protest and Practice, we are delighted to screen three short videos:
Seo Hye Lee, [sound of subtitles] (2021) 1 minute 38 seconds
Jordan Lord, I Can Hear My Mother's Voice (2017) 5 minutes. Directed and edited by Jordan Lord; shot and narrated by Deborah Lord.
Abi Palmer, What Now? (2020) 3 minutes 45 seconds.
Audio Description by Elaine Lillian Joseph.
This event is part of Caption Conscious Ecology, a series of talks and workshops advocating for the role of captioning in the production and display of moving-image work. Bringing scholars from D/deaf Studies and Critical Disability Studies together with artists and access workers, this series prompts conversations on the history, function, practical provision, and creative potentiality of captioning. It invites artists and arts organisers to explore how and why to embed captioning in artistic and curatorial practice.
Organised by Nottingham Contemporary and Voices in the Gallery.
6.30-7pm: Jaipreet Virdi
7-7.30pm: Collective Text
Chair: Hannah Wallis
About the event
Online. Free. Live Stream.
You can access this event through this webpage and on the Nottingham Contemporary YouTube channel.
There will be live captioning for this event.
A transcript will be available for download on this webpage afterwards.
A captioned video will be available via the Nottingham Contemporary YouTube channel and Voices in the Gallery website after the event.
There will be British Sign Language interpretation for this event.
The duration of the event is 2 hours. A rest break is included.
is an Assistant Professor in the Department of History at the University of Delaware whose research focuses on the ways medicine and technology impact the lived experiences of disabled people. She is author of Hearing Happiness: Deafness Cures in History (2020), co-editor of Disability and the Victorians: Attitudes, Legacies, Interventions (2020), and has published articles on diagnostic technologies, audiometry, and the medicalization of deafness.
is a collaborative working process supporting accessibility in art and film through creative captioning, audio description and interpretation. Recent projects include captions and/or audio description for The Work We Share with Cinenova feminist film distributor, “If from every tongue it drips” by Sharlene Bamboat and “a so-called archive” by Onyeka Igwe. From Collective Text today, we have Emilia, Bea, and Ciaran with Natasha interpreting.
is an artist, curator, and researcher. Marked by an attention to the boundaries between making, performance, locality, curating, and disability rights, Hannah’s practice exists at the intersection of these disciplines. Committed to the long-term application of accessibility practices within the arts and working rights of artists, Hannah has worked with Aural Diversity, Deafroots, National Gallery, London, DASH and ZU-UK; and serves as associate board member for a-n Artists Information Company. After completing a curatorial residency at Wysing Arts Centre as part of a programme to support the career development of D/deaf and Disabled Curators, in partnership with DASH, Hannah now works full time within the Wysing team. Having previously worked as part of the exhibitions team at Nottingham Contemporary Hannah currently works in an associate capacity to lead on Caption-Conscious Ecology in collaboration with Sarah Hayden. Hannah is also one half of Dyad Creative with artist Théodora Lecrinier
Voices in the Gallery is a research project on voice and access in art, led by Sarah Hayden and funded by an AHRC Innovation Fellowship
defines herself as an artist that uses the mediums of sound, illustration, and video to experiment with new forms of narrative, creating playful pieces that challenge the idea of listening. Drawing inspiration from her hearing loss experience, Seo Hye aims to explore the difference between hearing and listening; regardless of your hearing skill, one can always listen in a variety of ways.
is a filmmaker, writer, and artist. Their work addresses the relationships between historical and emotional debts, framing and support, access and documentary. Their films have been shown at festivals and venues including MoMA Doc Fortnight, Berwick Film and Media Arts Festival, ARGOS, and Camden Arts Centre. They have presented solo exhibitions at Piper Keys and Artists Space, and their work has been featured in publications such as Artforum, Art in America, Filmmaker Magazine, and Hyperallergic.
is a mother, wife, and retired educator.
is an writer, artist and filmmaker. Her work often uses multisensory interaction and play to explore themes of disability, access intimacy and queer culture.
Her installation Crip Casino - an interactive gambling arcade parodying the wellness industry and institutionalised spaces - has been exhibited at Tate Modern, Somerset House and Wellcome Collection. Her debut book Sanatorium (Penned in the Margins, 2020) is a fragmented memoir, jumping between luxury thermal pool, and blue inflatable bathtub. It was shortlisted for the Barbellion Prize.
In 2020 she was awarded an Artangel ‘Thinking Time’ Grant to address the current pandemic. In 2021 she was a recipient of the Paul Hamlyn Foundation’s 2021 ‘Awards for Artists.’