Toward TechnoAccess: A narrative review of disabled and aging experiences of using technology to access the arts

Misfits Meet Art and Technology: Cripping Transmethodologies

“…For Garland-Thomson (2011, p. 592), bodies, like other organic and non-organic matter are "dynamic phenomena," produced continuously through the entanglement of discourses with "the shifting forms of agency inherent in all materiality." Rather than falling back into the "technoableist" praxis of developing technologies only to assimilate difference, our final case study, Creative Users Projects (CUP), foregrounds technological innovation and transmethodological creative culture-making practices enacted by and co-designed with disabled communities working on technologies-to-be (Jones et al, 2021;Shew, 2020).…”

“…From this angle, we might think of disabled artists as on the frontlines of human-technological intra-actions and as such, as having insight into the political problematics and possibilities of these relationalities, and specifically in striving for access while stretching toward the aesthetic. Through their intersectional experiences with art, access, and the sociotechnical world ( Jones et al, 2021 ), the artists those work we lift devise practices that contribute to what crip scholars’ Hamraie and Fritsch (2019) call “crip technoscience”—or efforts to alter, hack, and tinker with existing tools and material arrangements to make more accessible worlds. The case studies also follow crip technoscience by engaging with “access as friction” ( Hamraie & Fritsch, 2019 , p. 10), which in recognizing how disabled (and non-disabled) people’s access needs/desires can rub up against each other, resists assimilation into normative life, and ignites and welcomes disruption, promoting “interdependence as [a] political technology” (p. 12).…”

“…So rather than asking how technology might improve disabled people's assimilation into a hegemonic order, we ask, "How might centering misfits in technology development and use enhance disabled people's access to art, culture, and life itself?" Disabled people's experiences with technology and access are contingent upon various sociomaterial facilitators and barriers (e.g., income, existing infrastructure, histories of spaces) that are felt unevenly among users, meaning that disabled people are subjects of widespread and multilayered digital divides (Jones et al, 2021(Jones et al, , 2022. From this angle, we might think of disabled artists as on the frontlines of human-technological intra-actions and as such, as having insight into the political problematics and possibilities of these relationalities, and specifically in striving for access while stretching toward the aesthetic.…”

Why Do Older Adults Feel Negatively about Artificial Intelligence Products? An Empirical Study Based on the Perspectives of Mismatches

“…However, the design of AIPs focuses more on having functions, such as assisted decision-making and intelligent services, all accomplished using big data and intelligent algorithms [45]. Although current AIPs for older people meet the design principle of "satisfaction of requirements", the current design philosophy may be flawed; as a result, the products deviate from the expectations and experiences of older people [46].…”

Beyond Utterances: Embodied Creativity and Compliance in Dance and Dementia

“…Critical gerontechnology and ageing studies are shifting focus from finding solutions to the health-related problematization of ageing to understanding how complex multimodal relationships of ageing and technology are intertwined. There is keen interest in the community conditions for sharing arts and technologies into existing arrangements of care (Jones et al 2021;Peine et al 2021;Skinner et al 2018). Hills et al (2022) proposed a methodological expansion to look more closely at the "how" of practice mechanisms, how the various components of an artistic activity are understood, interpreted, and incorporated into activity structures (Hills et al 2022).…”