Multisensory Storytelling in Disability Arts: Innovations in Accessibility and Audience Engagement

Fractured Time: Sensory Dimensions of the Pandemic is a multisensory four-dimensional installation created by neurodivergent artists. The piece communicates aspects of the artists’ lived experiences of the pandemic through the sensory modalities of touch, sound, smell, and sight. In this paper, the authors consider the installation of Fractured Time at three distinct, non-traditional sites. Reproducing the installation at each site presented unique complications for accessibility, therefore requiring adaptation where possible. These experiences provide a foundation for discussing Disability Arts. By addressing the questions, how might we engage sensory modalities without ocularcentrism overpowering the storytelling process?, and what are the ways we can address accessibility in curating an art installation?, the authors propose three creative phases when considering accessible curation: isolate (falsely), instruct, and imagine. These steps are explained within the context of the installation.

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Publication Details

Journal
Studies in Social Justice
Published
2025-08-09
DOI
https://doi.org/10.26522/ssj.v19i2.4798
Primary Topic
Virtual Reality Applications and Impacts
Type
article
Field-Weighted Citation Impact
0.00

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article

Multisensory Storytelling in Disability Arts: Innovations in Accessibility and Audience Engagement

Ana Isabel González Herrera, Alison L. Grittner, Kathleen C. Sitter, Amber P. E. Young et al.
Studies in Social Justice
Virtual Reality Applications and Impacts
article

Multisensory Storytelling in Disability Arts: Innovations in Accessibility and Audience Engagement

Ana Isabel González Herrera, Alison L. Grittner, Kathleen C. Sitter, Amber P. E. Young, Heath Birkholz
article en

Abstract

Fractured Time: Sensory Dimensions of the Pandemic is a multisensory four-dimensional installation created by neurodivergent artists. The piece communicates aspects of the artists’ lived experiences of the pandemic through the sensory modalities of touch, sound, smell, and sight. In this paper, the authors consider the installation of Fractured Time at three distinct, non-traditional sites. Reproducing the installation at each site presented unique complications for accessibility, therefore requiring adaptation where possible. These experiences provide a foundation for discussing Disability Arts. By addressing the questions, how might we engage sensory modalities without ocularcentrism overpowering the storytelling process?, and what are the ways we can address accessibility in curating an art installation?, the authors propose three creative phases when considering accessible curation: isolate (falsely), instruct, and imagine. These steps are explained within the context of the installation.

Studies in Social JusticeVol. 19(2)
Cape Breton University (CA), University of Calgary (CA)
Canada Research Chairs
Openalex Percentile: Top 79%
Virtual Reality Applications and Impacts
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Multisensory Storytelling in Disability Arts: Innovations in Accessibility and Audience Engagement — Ana Isabel González Herrera, Alison L. Grittner, et al. · Studies in Social Justice (2025) | TGRS Research Map | TGRS