Accessible scenic arts and Virtual Reality: A pilot study with aged people about... 215 Resumen El auge de los desarrollos tecnológicos en realidad virtual y otras formas de contenido inmersivo, como el video 360º, se ha convertido en un reto para el concepto de liveness en las artes escénicas, y resulta necesaria una revisión en los estudios de traducción audiovisual. La inclusión de estudios de recepción de subtítulos en este nuevo medio basado en realidad virtual es necesario. En el campo específico de los estudios de accesibilidad en los medios de comunicación, la accesibilidad en los medios inmersivos se encuentra aún en un estado embrionario. Este artículo explora las preferencias de dos opciones de subtítulos: subtítulos para sordos y discapacitados auditivos y subtítulos en lectura fácil, elaborados para un vídeo en 360º de la ópera Roméo et Juliette, interpretada en el Gran Teatre del Liceu durante la temporada 2017/2018. El estudio se preparó y se realizó con personas de entre 50 y 79 años de edad, con el objetivo de determinar las opciones de subtitulación preferidas por las personas mayores.
New advances in Information and Communication Technologies (ICT) have generated a convergent media environment towards the web. Digital media is ubiquitous and sometimes we might not realise how now much it affects our daily lives, as it is being used to communicate, entertain, learn, and almost all other activities. At present, most digital content is still not accessible for all. The requirement for digital accessibility when accessing ICT products has increased since the endorsement of the Convention on the Rights of Persons with Disabilities (UNCRPD) by European Directives. This article will first present an overview of the current state of digital accessibility legal framework in Europe. This will enable a better understanding of the existing gaps in the market and the training needs in the digital accessibility field. The methodology followed in the first stage of the IMPACT project will then be presented. Firstly, an analysis of the existing training in the digital accessibility field was conducted, which was used as the basis to create a first draft of the competences and skills that a digital accessibility professional should acquire and master. Secondly, an online survey to assess the defined competences and map the current status of digital accessibility in Europe was conducted. Results obtained will be discussed and further steps in the project which involve the design of a modular curriculum and the certification process will be outlined.
Background: Subtitles are produced through different workflows and technologies: from fully automatic to human in open source web editors or in-house platforms, and increasingly through hybrid human-machine interaction. There is little agreement regarding subtitle copyright beyond the understanding that it is a derivative work. While same language verbatim subtitles may have little room for creativity, interlingual subtitling is heavily dependent on the subtitler skills to translate, prioritise, and condense information. These days creative subtitles are increasingly being used as one more aesthetic element in audiovisual narrative. Though they may be in the same language, the visual attributes that contribute to the narrative development make creative subtitles one more element that should be acknowledged and copyright protected. Methods: The paper will present a short introduction to subtitling copyright. It will then describe centralised and decentralised copyright management — where blockchain technology can be applied to aid subtitler identification. A focus group with expert professional subtitlers was organised, and feedback is reported. Conclusions: Subtitle copyright is country dependent, still subtitling working practices and media asset distribution have no geographical borders. Blockchain technology -as a concept- could aid subtitle traceability. This can be useful beyond financial and moral right management and work towards media sustainability, allowing for reuse and repurpose of existing media assets.
There are many international standardisation agencies working actively on producing technical requirements towards accessibility, both for physical environments and for media. Technology is developing at a fast pace to produce new interactions, which turn into new communication barriers: some avoidable. Taking into consideration accessibility standards from the design and requirement definition --the concept of “born accessible”-- would help towards native accessible technology. This article looks at existing standards related to accessibility and media communication. The first part of the article will revise the importance of drafting harmonised standards for accessibility in four main agencies producing accessibility standards: IEC, ITU, ISO and W3C. It will then outline how standards are produced and implemented at a European level by the European Standardisation Organisations (CEN, CENELEC and ETSI). The second part of the article will be organised by media accessibility services: subtitling, audio description, audio subtitling and sign language. Mention to easy to read as a new emerging accessibility modality, will also be made. The final part of the article will provide conclusions and directions for further research. Keywords: Media Accessibility, Standards, Accessibility services, Subtitling, Audio description, Audio subtitling, Easy to Read.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.