WEBVTT

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Unknown: Experiential exhibition
description. This is an

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experiential description of the
gallery space. For more detailed

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visual descriptions of each
artist's installation, please

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refer to each artist's
individual access pages. These

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descriptions can also be
accessed via an

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installation-specific QR code
adjacent to each work in the

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gallery. Beale entrance, the
Beale Center for Art and

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Technology is a large modern
box-shaped building, painted

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brick red. A wheelchair ramp
wraps around the corner of the

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building up to the main
entrance. There are two sets of

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diagonal stairs flanked by
trimmed hedges that also lead up

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to the main landing. There are
two benches located outside the

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door. Large silver lettering on
the left of the door spells Dan

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and Joan Beal Center for Art and
Technology. A seven-foot-long

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rectangular black banner
announces the current exhibition

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up for viewing. Experiments in
art access and technology (EAAT)

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There is a metal awning above
the main entrance, flanked by

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two approximately eight feet
tall heavy doors that open

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outward. During gallery hours,
one or both doors will be

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propped open. The exhibition
wall vinyl is visible from the

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gallery entrance. The exhibition
motifs and description are as

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follows: oversized letters E A A
T are outlined in blue. All the

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letters are outlined in blue
except the second A represents

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access, which is filled in with
a bold blue. Under the acronym

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are the words Experiments in
Art, Access, and Technology.

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Running along the wall close to
the floor is a line of

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undulating sound waves of
varying amplitude. The vinyl

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text reads: 30 September 2023
through 13 January 2024

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experiments in art access and
technology or EAAT chronicles

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the emergence of access as an
animating principle of art

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science and technology from
participating audio description

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to captions that evoke poetry.
Access is being reimagined as an

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expressive form that catalyzes
new sensory possibilities for

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artistic experience. Despite
their multimodal capacities,

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many media art tools remain
inaccessible and have yet to

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benefit from this creative
attention. EAAT introduces

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methods in art and technology
that embody lived experiences of

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disability, invoking the field's
ethos of experimentation and

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collaboration. EAAT prototypes a
new program that links

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communities, institutions, and
ways of knowing through creative

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access. This paradigm marks a
turning point in the history of

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the art and technology movement.
In the 1960s, Leonardo E A T or

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Experiments in Art and
Technology and Lakma's Art and

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Technology Program created
infrastructure for artists,

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scientists, and engineers to
share knowledge, emboldened by

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such platforms, artists
redefined the social impact of

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new technologies. Mishradkin,
Carmen Pallina, Josephine Sales,

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Andy Slater, and Olivia Ting
premiere new work developed in

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Leonardo's Crip Tech Incubator,
an art and technology fellowship

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for disability innovation, these
installations foster dialog and

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exploration, bringing
transparency to often opaque

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black box systems. They test the
limits and affordances of media

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and machines, drawing attention
to ableist values of

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functionality, usage, and
navigation such devices encode.

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EAAT artists guide us through
uncharted and often challenging

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forms of access that echo the
capricious demands of

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technology, opening prismatic
entry points into esthetic

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experience. They prompt critical
reflection on artistic spaces

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and for whom they are made, EAAT
artists deploy access as an

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expressive form, a liberatory
tool, and an experiential

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technology for sustaining
community. The text continues:

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EAAT is organized by Leonardo
ISAST and supported by the

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California Arts Council, the
Ford Foundation, the National

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Endowment for the Arts, Ability
Central, and the Beale Family

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Foundations. As you enter
through the gallery doors, you

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will make a sharp left turn down
a narrow, 20-foot-long and four.

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A half feet wide hallway. As you
travel down the hallway along

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the right wall, and a painted
slate blue, you will encounter

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additional exhibition wall vinyl
that lists the curators Vanessa

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Chang and Lindsey D. Felt,
program curator Claudia Alec,

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and featured artists Misch
Fragkin, Carmen Papalia,

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Josephine Sales, Andy Slater,
and Olivia Ting. A QR code is

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located here that takes you to
the exhibition's access

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materials and web page. A few
feet away, at the far wall, you

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will find a table which contains
PPE masks, hand sanitizers, and

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some copies of access materials.
There is a sign that says "Why

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mask? with an arrow that leads
to a QR code that takes you to a

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web page with photos of people
wearing masks and saying why

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they wear masks. Additional
copies of access materials are

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located at the gallery attendant
table on the opposite wall.

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The entry hall channels visitors
into a 12 feet by 17 feet white

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square-shaped alcove that
contains Josephine Sale's

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multi-perceptual installation
total running time. A dropped

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ceiling creates an intimate
space at 10 feet high. This

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alcove's walls are painted
gallery white, which is bright,

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smooth, and uniform. Total
running time includes four

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discreet works described
clockwise through the alcove.

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Rescue, a plaster wall relief,
and two geometric benches are

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positioned on the gallery floor,
you may sit on the benches. The

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five-foot-high white plaster
relief, one-eighth inch thick,

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sits on the left gallery wall
and spills into the alcove,

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blending around the back left
corner. Because it is so thin

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and the same white as the walls,
it visually goes almost

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unnoticed. On the right. wall
from the entrance is a niche

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built into the gallery wall,
which recedes four inches deep

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and is 19.5 inches tall and 26
inches wide. Perched within the

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niche are two contained light
units. This unit has been

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prepared to mitigate the cool
light with a polyester film and

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diffusion, creating a daylight
effect. Hence, the title "Day

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for Night. Pulses: the ambient
sound that pervades the room is

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a 15-minute audio recording
composed of various sounds, from

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a telephone ringing to a prison
telecommunication disclosure

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announcement that runs on a loop
with a one-minute silence

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between each iteration. The
sounds are produced through

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surface transducers mounted
within the gallery walls. The

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final work, Total Running Time
Site, displays a URL to an

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auxiliary exhibition website and
digital source book. From the

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alcove you turn right into the
main gallery space, which is a

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long rectangular, about 60 foot
long and 38 feet wide. The

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ceiling is 16.5 feet tall and
exposes an intricate grid of

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lighting, air ventilation pipes,
tubing, and support struts.

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Babel, the first installation in
the main gallery space, is

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Mieschradkin's Babel. You will
first encounter a three-foot

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chandelier hanging between two
walls that demarcate the

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gallery's entry. This chandelier
forms part of an outer ring of

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three other smaller chandeliers
that encircle one large,

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four-foot-tall chandelier. They
are suspended from the gallery's

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pipe grid with thin metal wires
floating four to seven feet off

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the ground. For wayfinding
purposes and to avoid bumping

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into them, tactile floor bumpers
and arranged seating mark off

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these areas. Please take a seat,
rest, or recline to take in the

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work. The largest chandelier is
voice-activated, fabricated out

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of white oak, steel rod, and
assorted industrial plastic

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tubing, activated by loud LED
lights threaded along the

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tubing, emanate a warm, vibrant
glow. Four small speakers and

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two microphones are integrated
into the sculpture. The

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chandelier also emits different
sounds in response to certain

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words spoken in the gallery
space. Please note some of the

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sounds may be loud or dissonant.
Just behind the chandeliers are

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three large screens mounted in a
horizontal line on the wall. The

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screens are about four feet off
the ground. The outside monitors

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display sonic descriptions of
sounds that emanate from the

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central chandelier. These sonic
descriptions range in length and

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detail. The central. Monitor
includes noisy text with

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messages that are activated by
the chandelier. Sound without

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words, just beyond and further
to the right of Babel is Olivia

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Ting's "Sound Without Words, an
immersive audiovisual

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installation with 15 sheer black
weil panels hanging from the

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pipe grid. The panels are
arrayed as fragments placed at

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varying angles, some touching in
a gentle curve from one end of

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the gallery to the other. The
banners range from three to four

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feet in width and are nine feet
tall. A pedestal against the

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furthest white wall holds four
Bluetooth wireless headphones.

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You are welcome to don one of
the headphones from the docking

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station to experience the audio.
You may wander through the

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tapestries as you wish,
touching, grazing, or pushing

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the fabric aside as you move
through the space. There are two

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pedestals close to the terminus
of the fabric array. On top of

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the two large vintage radios
that represent a haptic

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translation of Beethoven's Ode
to Joy, parallel to Ty King's

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Song Without Words is a long
white wall on the left that

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provides the enclosure for the
alcove. Two large white prints

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contain intricate flow charts
about lip reading and speaker

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identification, titled "Sorting
It Out" and "Lip Reading, are

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mounted on the wall. Pain pals.

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At the end of "Song Without
Words, you can either enter

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Carmen Papalia's Pain Pals or
make a slight left into Andy

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Slater's unseen sound. Their
installations are two sections

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separated by a floor-to-ceiling
black curtain. On the right side

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of the curtain is Paying Pals. A
dining table with four low white

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stools is positioned in front of
a large wall-mounted screen,

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which is playing videos of
Papalia and his collaborators on

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a loop, the videos are Zoom
recordings of conversations from

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the Pain series and Papalia's
works in progress. Four floating

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black shelves with an assortment
of sundry items are on the back

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wall adjacent to the monitor.
Items include, but are not

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limited to, stuffed animals,
snacks, pamphlets, heating pads,

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lotion, compression socks,
vitamin C packets, comic books.

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Against the gallery's back wall
is an L-shaped upholsterer's

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dark gray couch and a cozy robe.
An iPad is mounted on a stand

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with headphones. Unseen sound.
On the left side of the curtain

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is Andy's piece against a far
wall? A joystick with two large

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buttons and an amplifier sit at
a round black table. A black

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hardback chair is pulled against
it. A large TV monitor is

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mounted in the middle of the
adjacent wall, on which textual

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descriptions of sound
intermittently appear. Gallery

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emergency exit. The emergency
exit can be accessed at the end

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of the gallery behind Ting's
sound without words. Turning

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left about two feet past the
artificial wall, followed by a

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quick right, you will encounter
two doors with push bars. Be

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sure to turn right. There is a
short hallway with a curtain at

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the end. There is a heavy door
with a push bar. You will need

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to open. Turning right out of
the first exit, you are still

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inside the building. You will
travel a few feet to the second

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set of doors with a push bar.
There is a short staircase on

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the right and a wheelchair ramp
on the slight left side. This

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exit route takes you outside the
Beale Gallery to a sidewalk that

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connects to other paths on the
University of Irvine's campus.