Anglais

OCAD students reimagine AGO artwork for visually impaired visitors

Published

5 années ago

janvier 7, 2019

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Peter Coppin remembers the discussion with a visually impaired student that helped him understand how much can be misunderstood when a person has to depend on words to understand what someone else can see.

They were talking about Italy and the student knew that Italy is shaped like a boot. But when Coppin described it as a boot with a high heel like the Three Muskateers would wear, the student laughed out loud. He had been envisioning Italy as an entirely different kind of boot shape, and the idea of Italy as a Muskateer boot was comical to him.

Rachel Han (left) and Norbert Zhao, OCAD university graduate students of the Inclusive Design program, stand alongside Tom Thomson's The West Wind at the Art Gallery of Ontario holding their multi-sensory interpretive project. — Rachel Han (left) and Norbert Zhao, OCAD university graduate students of the Inclusive Design program, stand alongside Tom Thomson’s The West Wind at the Art Gallery of Ontario holding their multi-sensory interpretive project. (Cole Burston / Toronto Star)

It’s these chasms in understanding that Coppin and the Art Gallery of Ontario are trying to bridge with a program that brings multi-sensory projects, based on works of visual art, to AGO museum tours for people in the blind and low vision community.

While in the past museums have relied heavily on audio recordings and guides to bridge that gap, new practices are being brought on board, including multi-sensory aids designed by graduate students at OCAD University.

“Visuals are dominant in our culture. If you are a part of society and you don’t have access to visual items, then you don’t have access to a lot off stuff about the culture that people who have vision have access to,” says Coppin, associate professor of the inclusive design graduate program and director of the perceptual artifacts lab at OCAD University.

In Coppin’s graduate class, students select a work of art at the AGO to interpret for people living with vision loss.

Nadine Addada (from left), Jing Poli, and Carisa Antoriksa with their interpretation of James Tissot's La Demoiselle de Magasin. — Nadine Addada (from left), Jing Poli, and Carisa Antoriksa with their interpretation of James Tissot’s La Demoiselle de Magasin. (Cole Burston)

This year — the second year of the program — the works included four paintings: Tom Thomson’s The West Wind, Otto Dix’s Portrait of Dr. Heinrich Stadelmann; La Demoiselle de magasin by James Tissot and Jar of Apricots by Jean-Siméon Chardin.

In a way, it’s about getting back to the roots of what museums used to be, said Melissa Smith, co-ordinator of the gallery guide, adult education officer and access to art programs for the AGO.

Early museums began as private collections, typically belonging to the wealthy, who would share art and artifacts they had purchased or collected on their travels. They were displayed in “wonder rooms.” People were allowed to touch the items as part of the experience.

The AGO already offers multi-sensory tours for people living with vision loss, which include some works that can be touched — including the museum’s large Rodin sculptures — under supervision, but providing 3-D support for works of visual arts offers the possibility of evoking more than just the sense of touch.

For months, Coppin’s students grappled with the idea of how to render the terrifying look on Dr. Stadelmann’s face into a tactile experience and how to communicate the cold of the water in The West Wind.

“We were totally drawn to this portrait; the eerie atmosphere,” said student Shannon Kupfer, speaking of the Dix portrait. “I was dying to interpret it.”

Dix layered paint on the doctor’s eyes — they appear to bulge. He seems haunted. His hands are in fists by his sides. Kupfer and her partner, Tyson Moll, wanted viewers to feel that tension, and also feel the deep wrinkles in his face.

They made a 3-D replica of the doctor’s head in polymer clay that felt cold and a bit yielding, but still firm to the touch. The eyes bulge like they do in the painting. They sewed hair onto his head in little batches, to mimic the strokes of the paintbrush in the painting. They made the body boxy and rigid, to communicate the physical tension in the painting. They gave him a rigid collar, backed by cardboard. His fists were made of polymer clay coated in silicone.

They also made it out of products that were easy to care for — the clothes are fastened with Velcro to make it easier for curators to remove them and wash them if necessary.

The multi-sensory version of James Tissot's La Demoiselle de Magasin at the Art Gallery of Ontario. — The multi-sensory version of James Tissot’s La Demoiselle de Magasin at the Art Gallery of Ontario. (Cole Burston)

They recorded an audio component — a fluent German speaker reading a passage from one of Dr. Stadelmann’s writings, concerning avant-garde art in relation to what was then considered psychiatric wisdom. They included the hissing noise that used to accompany recordings played on records.

“It’s not just engaging for the low-sight community, it’s engaging for everyone. It’s such a cool way to get kids — or anyone — more engaged with art,” Kupfer said.

The problem of communicating the coldness of the water in Tom Thomson’s piece was solved more simply, with a bag of blue slime. To convey the feeling of wind, the students invested in a $20 miniature fan from Amazon.com.

“When you stand in front of this painting you can feel the strong wind because of the shape of the tree and the waves on the lake,” said student Norbert Zhao.

Nikki To (left) and Grace Mendez hold their multi-sensory interpretation of Jean-Simeon Chardin's Jar of Apricots. — Nikki To (left) and Grace Mendez hold their multi-sensory interpretation of Jean-Simeon Chardin’s Jar of Apricots. (Cole Burston)

John Rae, who lost his eyesight in his 20s and is now blind, has been on the AGO multi-sensory tours and experienced the works made by this year’s OCAD students. While he liked the Otto Dix sculpture, some things didn’t communicate as planned. For example, without knowing anything about the painting, when Rae touched the sculpture, he thought the doctor was a boxer wearing gloves, because of the way the hands felt.

“That comes from me as a sports fan,” said Rae, a retired public servant and a board member of the Alliance for Equality of Blind Canadians.

Rae liked the multi-sensory adaptation of Jar of Apricots, by students Nikkie To and Grace Mendez. The painting is a still life that includes a jar of apricots, a glass of wine, bread and a cup of tea. Their model included dried apricots for tasting, jarred scents including a cork soaked in wine and apricot jam with added artificial apricot scent; 3-D printed objects including a tea cup and wine glass to handle, background music from the period and others sounds — touching the wine glass triggered the sound of a liquid being poured.

While Rae believes the multi-sensory aids provide another tool, he thinks museums in general need to consider making more objects available for handling by the blind and vision impaired. He cited as an example ancient pottery — while a museum may have perfect examples on display, it may also have imperfect examples in storage. What would be the harm, asks Rae, in making those available to people with limited eyesight, especially since the tours happen infrequently, involve about six to 12 items, and small numbers of people?

Tyson Moll (left) and Shannon Kupfer with their multi-sensory interpretive project alongside Otto Dix's Portrait of Dr. Heinrich Stadelmann. — Tyson Moll (left) and Shannon Kupfer with their multi-sensory interpretive project alongside Otto Dix’s Portrait of Dr. Heinrich Stadelmann. (Cole Burston)

“One can learn a fair amount from the expertise that the people who run these tours bring to the table, but there is no substitute for being able to touch,” Rae said.

The challenge at the AGO, Smith said, is that in an art gallery the works tend to be flat and one-of-a-kind.

“Our conservators and curators do their utmost to ensure the objects, like sculptures, which make the most interesting objects to touch, are cared for and exhibited to support this program,” Smith said.

Ian White, president of a local Toronto chapter of the Canadian Council of the Blind called the CCB Toronto Visionaries, said that while AGO tour leaders excel at describing art in a way that triggers the imagination, the multi-sensory tours are evocative.

“It starts a conversation about the piece, about the artist, about the history,” White said.

“It really allows people to engage with works that are part of our collective culture.”

Francine Kopun is a Toronto-based reporter. Follow her on Twitter: @KopunF

Anglais

Nostalgia and much more with Starburst XXXtreme

Published

3 années ago

août 10, 2021

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Get a taste of adventure with Starburst XXXtreme based on the legendary NetEnt Game. The nostalgic themes are sure to capture fans of the classic version as they get treated to higher intensity, better visuals, and features. The most significant element of the game is its volatility. Patience will not be an essential virtue considering the insane gameplay, and there is a lot of win potential involved. It retains the original makeup of the previous game while adding a healthy dose of adrenaline.

Starburst Visuals and Symbols

The game is definitely more conspicuous than before. The setting happens over a 5-reel, 3-row game grid with nine fixed win lines, which function if a succession from the left to the right reel is present. Only those players that that attain the highest win per bet line are paid. From a visual standpoint, the Starburst XXXtreme slots illustrates lightning effects behind the reels, which is not surprising as it is inherited from the original version. Available themes include Classic, Jewels, and Space. The game is also available in both desktop and mobile versions, which is advantageous for players considering the global pandemic. According to Techguide, American gamers are increasingly having more engaging gaming experiences to socialize to fill the gap of in-person interaction. Starburst XXXtreme allows them to fill the social void at a time when there is so much time to be had indoors.

Starburst XXXTreme Features

Players get to alternate on three features which are Starburst Wilds, XXXtreme Spins, and Random Wilds. The first appears on reels 2,3, or 4. When these land, they expand to cover all positions while also calculating the wins. They are also locked for a respin. If a new one hits, it also becomes locked while awarding another respin. Starburst XXXtreme offers a choice between two scenarios for a higher stake. In one scenario with a ten times stake, the Starburst Wild is set on random on reels 2,3, or 4, and a multiplier starts the respin. The second scenario, which has a 95 times stake, starts with two guaranteed starburst wilds on reels 2,3, or 4. it also plays out using respin game sequence and features. The game also increases the potential with the Random Wilds feature to add Starburst Wilds to a vacant reel at the end of a spin. Every Starburst Wild gives a random multiplier with potential wins of x2, x3, x5, x10, x25, x50, x100, or even x150.

The new feature is sure to be a big hit with the gaming market as online gambling has shown significant growth during the lockdown. AdAge indicates the current casino customer base is an estimated one in five Americans, so Starburst XXXtreme’s additional features will achieve considerable popularity.

What We Think About The Game

The gambling market has continued to diversify post-pandemic, so it is one of the most opportune times to release an online casino-based game. Thankfully Starburst XXXtreme features eye-catching visuals, including the jewels and space themes. These attract audience participation and make the gameplay inviting. The game also has a nostalgic edge. The previous NetEnt iteration featured similar visuals and gameplay, so the audience has some familiarity with it. The producers have revamped this version by tweaking the features to improve the volatility and engagement.

That is characterized by the potential win cap of 200,000 times the bet. Starburst XXXtreme does not just give betting alternatives for players that want to go big. The increase of multipliers also provides a great experience. If the respins in the previous version were great, knowing that multipliers can go hundreds of times overtakes the game to a new level.

Players should get excited about this offering. All of the features can be triggered within a single spin. Whether one plays the standard game or takes the XXXtreme spin route, it is possible to activate all of the features. Of course, the potential 200,000 times potential is a huge carrot. However, the bet size is probably going to be restricted and vary depending on the casino. It is also worth pointing out that a malfunction during the gameplay will void all of the payouts and progress. Overall, the game itself has been designed to provide a capped win of 200,000 times the original bet.

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Anglais

‘We’re back’: Montreal festival promoters happy to return but looking to next year

Published

3 années ago

juillet 23, 2021

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In downtown Montreal, it’s festival season.

In the city’s entertainment district, a musical act was conducting a sound check on stage Friday evening — the second day of the French-language version of the renowned Just For Laughs comedy festival. Tickets for many of the festival’s free outdoor shows — limited by COVID-19 regulations — were sold out.

Two blocks away, more than 100 people were watching an acoustic performance by the Isaac Neto Trio — part of the last weekend of the Festival International Nuits d’Afrique, a celebration of music from the African continent and the African diaspora.

With COVID-19 restrictions continuing to limit capacity, festival organizers say they’re glad to be back but looking forward to next year when they hope border restrictions and capacity limits won’t affect their plans.

Charles Décarie, Just For Laughs’ CEO and president, said this is a “transition year.”

“Even though we have major constraints from the public health group in Montreal, we’ve managed to design a festival that can navigate through those constraints,” Décarie said.

The French-language Juste pour rire festival began on July 15 and is followed by the English-language festival until July 31.

When planning began in February and March, Décarie said, organizers came up with a variety of scenarios for different crowd sizes, ranging from no spectators to 50 per cent of usual capacity.

“You’ve got to build scenarios,” he said. “You do have to plan a little bit more than usual because you have to have alternatives.”

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Anglais

MELS new major movie studio to be built in Montreal

Published

3 années ago

juillet 23, 2021

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MONTREAL — MELS Studios will build a new film studio in Montreal, filling some of the gap in supply to meet the demand of Hollywood productions.

MELS president Martin Carrier said on Friday that MELS 4 studio construction will begin « as soon as possible », either in the fall or winter of next year. The studio could host productions as early as spring 2023.

The total investment for the project is $76 million, with the Quebec government contributing a $25 million loan. The project will create 110 jobs, according to the company.

The TVA Group subsidiary’s project will enable it to stand out « even more » internationally, according to Quebecor president and CEO Pierre Karl Péladeau. In the past, MELS Studios has hosted several major productions, including chapters of the X-Men franchise. The next Transformers movie is shooting this summer in Montreal.

Péladeau insisted that local cultural productions would also benefit from the new facility, adding that the studio ensures foreign revenues and to showcase talent and maintain an industry of Quebec producers.

STUDIO SHORTAGE

The film industry is cramped in Montreal.

According to a report published last May by the Bureau du cinéma et de la télévision du Québec (BCTQ), there is a shortage of nearly 400,000 square feet of studio space.

With the addition of MELS 4, which will be 160,000 square feet, the company is filling part of the gap.

Carrier admitted that he has had to turn down contracts because of the lack of space, representing missed opportunities of « tens of millions of dollars, not only for MELS, but also for the Quebec economy. »

« Montreal’s expertise is in high demand, » said Montreal Mayor Valérie Plante, who was present at the announcement.

She said she received great testimonials from « Netflix, Disney, HBO and company » during an economic mission to Los Angeles in 2019.

« What stands out is that they love Montreal because of its expertise, knowledge and beauty. We need more space, like MELS 4, » she said.

There is still not enough capacity in Quebec, acknowledged Minister of Finance, the Economy and Innovation Eric Girard.

« It is certain that the government is concerned about fairness and balance, so if other requests come in, we will study them with the same seriousness as we have studied this one, » he said.

Grandé Studios is the second-largest player in the industry. Last May, the company said it had expansion plans that should begin in 2022. Investissement Québec and Bell are minority shareholders in the company.

For its part, MELS will have 400,000 square feet of production space once MELS 4 is completed. The company employs 450 people in Quebec and offers a range of services including studio and equipment rentals, image and sound postproduction, visual effects and a virtual production platform.