Collective Text

Image description: A banner hand-drawn in pencil reads: “As a cultural organisation in Scotland we pledge to support PACBI The Palestinian Campaign For the Academic and Cultural Boycott of Israel”. Pencil-drawings of flowers including tulips and the Palestinian poppy adorn the banner Collective Text renew our pledge to PACBI, alongside over 150+ Scottish cultural organisations. In the face of the ongoing genocide and the recent abhorrent break of the ceasefire this pledge is the bare minimum we can do - boycotts work! Other ways you can support: Organise in your workplace, remove affiliations with products on the BDS (boycott divest sanction) list Donate to crisis relief and Crips for eSims for Gaza Groups such as Artworkers for Palestine Scotland have lists of suggested workplace actions. @artworkersforpalestinescotland No culture without Palestinian culture! Palestinian Liberation is a Disability Justice issue!

We are highlighting the audio description of two artworks in Camara Taylor’s [mouthfeel] at @glasgowtramway . This exhibition ends on Sunday August 18th. The gallery is closed on Mondays and Tuesdays. The first is an extract of the AD for ‘Falls’: “This is the first of three lecterns, designed by Camara and fabricated by Slaghammers, a feminist welding collective, prioritising women, trans and non-binary people in Glasgow. Slaghammer members cut, bent, welded and sanded steel tubes and sheets to form the lecterns. Each one has a rectangular base, a pair of legs and a slanted book stand on the top with a shelf edge. It’s unusual because of its thin, ungainly legs around 5cm in diameter. It’s a metre tall and its tubular legs begin evenly spaced apart then bend or fall dramatically inwards. Where the legs touch gives the impression of human knees awkwardly or coquettishly knocking together. At this point of contact the colour has peeled away to expose a shiny silver. They flare outwards again, returning to dark industrial grey and finally connect to the base.” At the gallery, audio description (AD) of the exhibition can be accessed via mp3 players with headphones. The AD deep dives into 10 artworks ranging from photographic prints to a rum-infused waterfall. The total running time of the AD is 32 minutes 55 seconds, divided into 13 tracks. Visual descriptions are peppered with insight from the artist and historical context. The AD was written in collaboration and consultation with @kirin_saeed , a visually impaired actor, playwright and disability activist. We encourage you to explore the full audio guide in the gallery or at home. Visit the link in our bio for the audio guide, as well as transcripts for each video. 📸 photo by @matthewarthurwilliams #AudioDescription #ContemporaryArt #Accessibility #GlasgowInternational

RePosted from @granduniongallery - We’re open this week showing A Bedroom for Everyone by Ed Webb-Ingall. Come to see this newly commissioned work Wednesday 2-5 pm, and Thursday to Saturday 12-5 pm. ⁠ ⁠ A Bedroom for Everyone has been in development since 2019 and began as Forming a Resident’s Association, a research group made up of housing activists from Glasgow, Birmingham, Liverpool, and Nottingham.⁠ ⁠ The project explores the power of grassroots activism and organising in the face of the ongoing housing crisis emergency; whilst making space for the camaraderie that unfolds in the community centres and meeting halls where this work takes place.⁠ ⁠ This work has been made in collaboration with lead illustrator Sofia Niazi and award-winning animator Astrid Goldsmith.⁠ ⁠ 📸Images by Patrick Dandy, 2023⁠ ⁠ @edwebbingall ⁠ ⁠ @sofia_niazi ⁠ @astroidg ⁠ With support from: ⁠ @acornbirmingham ⁠ @sifafiresideofficial ⁠ @leedsanimation ⁠ @makinglevel ⁠ @stirchleycd ⁠ @granby4streetsclt ⁠ @Acorn_notts ⁠ @nottm_contemp ⁠ @luxscot ⁠ @rule_of_threes ⁠ The Women Asylum Seekers Housing Project⁠ ⁠ Generously funded by: ⁠ @oak_foundation ⁠ @aceagrams ⁠ @artfund ⁠ @unibirmingham ⁠ @serpentineuk ⁠ ⁠ [Image description - A landscape image of a large screen within a darkened gallery space. The screen shows a row of animated people holding placards reading slogans such as ‘Housing for all,’ and ‘Repair don’t demolish'. Behind the animated people is a black-and-white image of a real housing protest; people holding placards and buildings are visible. At the top of the screen, a caption reads ‘(protestors blow whistles and chant)’ in yellow capital letters on a black background.]’

UPDATE; Streaming online until midnight - 7 November 2022 - link on @nottm_contemp bio This screening includes three films with integrated captions made by collective text ! a so-called archive - Onyeka Igwe Black Poirot - Rosa-Johan Uddoh Lagareh - Alberta Whittle Access note: scroll down to find films. There are six films and six artist interviews on the website. “Black Beauty,” and “Surviving You, Always” seem to not have captioning. All interviews are subtitled. Big shout out to all CT collaborators who worked on captions across these three films! Posted @withrepost • @luxscot We’re excited to host the Film London Jarman Award 2022 today. Works by all six of the 2022 award shortlist are now freely available to view on our website until midnight tonight.  Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change. follow the link in lux Scotland bio to watch the works online now. The works on show are: * Grace Ndiritu, ‘Black Beauty’ (2021), 29 mins
 * Onyeka Igwe, ‘a so-called archive’ (2020), 20 mins
 * Alberta Whittle, ‘Lagareh’ (2022), 32 mins
 * Rosa-Johan Uddoh, ‘Black Poirot’ (2018-2021), 21 mins
 * Morgan Quaintance, ‘Surviving You, Always’ (2020), 18 mins
 * Jamie Crewe, ‘False Wife’ (2022), 15 mins Image description: Six square format still from the six works on show. Top left to bottom right: 1- Alberta Whittle: A figure stands, dressed in red and holding a large machete, against a bright blue sky & lush green hedge. 2- Jamie Crewe: blurry overlay of a pink cartoon hand atop a close up of a face with two eyes looking straight ahead.  3- Grace Ndiritu: A figure in a blue dress stands in a quarry surrounded by a film crewe.  4- Rosa-Johan Uddoh: A black & white image of a woman with a wide open mouth singing & blue animated captions reading ‘eeeeeee’.  5- Onyeka Igwe: A blue box containing dusty old film canisters. 6- Morgan Quaintance: A black & white image shows a bright explosion in the sky & plumes of smoke beneath it.

We helped create animated captions for Ed Webb Ingall’s radio play, ‘Growing up B(r)ent’ which is showing at Willesden Green library as part of ‘IN THE HOUSE OF MY LOVE’, Brent Biennial. Made in close collaboration with Mosaic LGBT+ Young Persons’ Trust, the piece was inspired by delving into Mosaic’s history, drawing on a forgotten archive of the community group. The installation is open until Sunday 11th October. 📺 Link in bio, All images are photo documentation of Ed Webb Ingall’s installation at Willesden public library. Further image descriptions in comments. 📚 “be gay, do crime” 🌈

‘Fungal Datascapes: A Sporous Commons of Mushrooms and Climate’ is an immersive 360˚ video experience created by Finn Arschavir, Jens Evaldsson and Rut Karin Zettergren, Commissioned by Goethe Institute. 🪨 The full online video version (9 minutes) is available in our linktree; toggl captions in the YouTube control bar. 🌎 In conversation with the artists, Collective Text captioners & consultants interpreted the soundtrack for the 3D video. 🌳 Enjoy this enchanting animated world and the soundtrack made from the electric pulses of mushrooms! 🍄 With thanks to Ciaran Stewart, Craig McCulloch, Julia C. Kothe, Eleni Wittbrodt. Image descriptions in comments.

Welcome to the swirling worlds within worlds of wūûūwūûū by Rae-Yen Song! 🌀 The short film is a hallucinatory hand-drawn (pen & fibre tipped marker) animation where wonderful cartoon-like creatures float, wobble, drip, gloop and chomp. This was one of the most fun collaborations of 2021 and a true collective effort creating languages for the dizzying soundtrack and visuals. The link is in our bio for the captioned version via @bbcarts - an audio described version will soon be available. 🦠 Captions and audio description by Collective Text with Rae Yen Song, Michael Barr, Bea Webster and QUIPLASH. wūûūwūûū was commissioned by Lux Scotland & BBC for Now & Next 🧡 “the words of this interpretation slip and slide and spin, because this place won't keep still.” Image descriptions: 1 - Four magenta nipple-pointed heads, wobble, gelatinous, across a spiraling painted green void . Subtitle: (drippy glooping) 2 - A dusky purple expanse, a multi-limbed being - many-faced, twisted-tongued, teal-green - levitates in a yogic squat. The being’s mouth-belly (beneath hypnotic red-nippled breast-eyes) chomps with stained teeth, regurgitating lurid green vomit. Subtitle: (rumbling retch) 3 - Neon cellular droplets of various shapes float in a dark space-like void. One porous jelly shape could be a foetus, orange in color. Subtitle: (twaaaang!)

Last week to see Life Support at Glasgow Women’s Library! The exhibition includes archival material collated by Nat Raha and Alberta Whittle’s films Holding The Line, Reset & Business As Usual with captions by Collective Text made in collaboration with Alberta & Bea Webster See GWL for exhibition and access information Image descriptions: large TV monitors on stands in wood paneled Glasgow women’s Library with video stills showing two black women in patterned dresses stand on a rocky caribe beach, facing the ground, caption reads (ocean is silent) ; In the second still Sekai is braiding Adebusola’s hair, both facing the camer, Adebusola is speaking. Sekai holds a strand of hair close to the camera. Caption reads “something didn’t feel right”. @womenslibrary @purebred.mongrel @full_nommunism @sekaimachache @byumblebee 📸: Nat Raha & Neil Hanna

Very excited to share with the world… Premiering this weekend at Berwick Film Festival and Open City Docs , If From Every Tongue It Drips, a film by Sharlene Bamboat in collaboration with many others! So honoured to have been invited into the process of what was a truly collaborative journey in translation, across sound/poetry/politics. The premiere features integrated captions & sound descriptions made by Collective Text. Captions made with Amy Helena, Ciaran Stewart, Sharif Elsabagh, Amy Cheskin, Emilia Beatriz; sound descriptions written in collaboration with Sharlene Bamboat, Nick Dourado and Aaditya Agarawal. From Berwick website; “Made between Sri Lanka, Canada and Scotland , If From Every Tongue It Drips is assembled through a call and response exchange of sound, text and image. Interested in the framework of voice, vibration, time, sound and language that quantum physics explores, Bamboat’s new film emerges from an exchange of theoretical entanglements but is practiced and rendered through bodily ones.” 67 minutes, available to watch online through 30 September, £5/7.50 Image descriptions: 1. film still; green foliage blurred in motion, taken from a moving vehicle, edge of a concrete road just visible a title in white in Tamil, Urdu and English 'if from every tongue it drips' 2. a person sits on a wooden rocking chair in a bright orange room sunshine spilling in, the person in chair is half out of frame, arms hold a piece of paper, legs crossed, toes pointing upward, bright orangey-yellow caption reads 'Time isn't what it used to be.' captions in light green at bottom right reads 'salt & fresh waters trickle into each other' 3. a view down a palm lined dusty street in Batticaloa, cyclists in far distance, caption in bright yellow at bottom centre reads 'joyous melodies overlap like crashing waves' 4. Video still, video tape glitching distorted lines across archival footage of Iqbal Bano singing “Hum Dekenge.”

film and/as resistance Free resources and anti apartheid visions! Link to donate to movements on the ground Link in @anothergazejournal bio to watch programme of films by Palestinian Women - subtitles in multiple languages, most without SDH ) , and donate to movements on the ground.

Remembering back to “Bläue/Blueness” (2017) by Kerstin Schroedinger 💙💙💙💙💙 “Juxtaposing images of the production sites of the pharmaceutical-chemical industry with speculations on the historical, social, and material conditions of Cyanotype photography, “Bläue” (Blueness) probes into the (gendered) politics of materiality and the (violent) historicities of its form.” The audio version with visual descriptions of Bläue is available for listening on SoundCloud (link in bio) the captioned film available on schroedinger.blackblogs.org/links-to-works-online/ [Image description; 1) A still from the film: The image is washed in dark blue, a rectangle of light in the centre. A nude figure stands facing away from the camera, the outline of her back and shoulders barely discernible. A projection of light illuminates the bright rectangle on her shoulders, creating an abstract liquid pattern made by cyanotype printed on 16mm film. Large blocky quotation marks are stuck onto the person’s back, framing the projection. Another set of hands adjust the bottom-right quotation mark, a couple of fingers catching the light. Also projected onto the small of the back, below the projected image, is a caption in glowing pink that reads: “The toxic soil is awaiting its exposure.” 2 & 3 one poster is split across two images. On the left, a still from the film with a figure in a flourescent vest standing in a dark room with a projected image falling across her body, she hold a script . White captions read # F.....e....e....l..... On the right of the poster, text with three various interpretations of the image: “AUDIO DESCRIPTION: 22:41 - 22:44 X stands up, changing position as she sings. / ARTISTS SCRIPT: 00:22:46:20 X gets up and starts singing in a Method acting exercise; each syllable sung on one note held as long as possible. ‘Without feeling the pain the hurt gets more’ / CAPTIONS: staggered beat, (X sings monotone, draws out each word. # W....i....t....h.... # o....u....t.... # f....e....e....l.... # i....n....g”] @krstn_sc

The second instalment of GIVE BIRTH TO ME TOMORROW, this year’s Artists’ Moving Image Festival continues with an online screening, available to watch for free from Saturday 13 March until 20 March (link in bio) 🌚 The darkness of the new moon is for setting intentions. It is a time of reflection. There is a sense of calm and renewal. These are the energies that unite our next episode of three moving image works. Each rooted in a specific site, rocks are sexed and caressed, black volcanic waters still time and tropical winds speak a language of resistance. Erotic, otherworldly, elemental. 🪨 At moments, there are suggestions of something like ritual actions, performed to mark transitional passages, they encourage a recognition of seasons and of change. To perform a ritual requires belief in the certainty that things require and can withstand becoming undone. 🌴 The programme includes works by Minia Biabiany, Evan Ifekoya, and Mathew Wayne Parkin and is accompanied by a discussion event hosted by the programmers on Thursday 18 March from 6–8pm. Captions by Collective Text in conversation w/ the artists 🏔 Image description: 1) film still from Pawòl sé van by Minia Biabiany ; a dark silhouette of a tropical plant with a distant palm framed between leaf and fruit. Orange onscreen text on the left reads “kouté”, below and to the center of the frame pale yellow text reads “j’entends l’ici” caption in white reads “the wind rises” 🐚 2) film still from “contoured thoughts” by Evan Ifekoya. Steam rises from natural pools in dusty landscape, the image is doubled, both mirroring and obscuring itself. Caption reads “feeling singular instead of plural” 🌑 3) film still from “mud mask” by Mathew Wayne Parkin a landscape image shows a close up of grasses on a hillside, the image is a colour negative and is made up of purples, dark blues, light greys and white, and black. Caption in yellow reads “WET MOUTH SOUNDS” 🌱 4) a landscape graphic with protest placard like shapes emblazoned with the words ‘GIVE BIRTH TO ME TOMORROW’ in capitalised san serif font. The rectangular shapes splay out across a navy and royal blue background, overlapping one another.  Design by Maeve Redmond