Abstract

Descriptions of legal blindness, as lived experience—involving continual movement between the world of sightedness and blindness—are largely absent within medical models of disability. In an effort to challenge depictions of blindness as pathology, researchers in this project worked with participants who are legally blind, in a co-designed exploration of built spaces in the city of Edmonton, Canada. In this article we describe a collaborative research method through which participants shared stories while recording their movement through a shopping mall, an art gallery, and a gym. Through this project, participants often took the lead, determining the content and context of urban journeys. Stories and images shared through this collaboration suggest that legal blindness is an alternative way of knowing the world, with unique perceptual experiences, navigational strategies, and complexity that is often unacknowledged within a medically constructed blindness/sightedness binary. In describing the complex relationship between participants, researchers, architecture, and technology we will combine narrative forms of writing with actor-network theory. The sharing of stories, along with lived experiences has led to a project that revolves around ability, as opposed to disability. A link to the film is provided at the end of this article.

Highlights

  • Sometimes... when I see another drawing, painting, I don’t know why but I just feel like I can do it

  • The first section of our story deals with the actors who are absent from the film: the voices of researchers, the camera, along with the dialogue and relationships that emerged through ethnographic work

  • Descriptions of the many actors behind Light in the Borderlands has led to stories of collaboration and filmmaking

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Summary

Introduction

Sometimes... when I see another drawing, painting, I don’t know why but I just feel like I can do it. The first section of our story deals with the actors who are absent from the film: the voices of researchers, the camera, along with the dialogue and relationships that emerged through ethnographic work. The second section of our story illustrates the actors that are present (as visual or audio material): image, darkness, light, participant voices and sound. These are actors that make an overt contribution to the research. Shafi, and Carol are the three participants who, through the making of this film, explore the borderland region Through their journeys this project explores the notion of “plural authorship”, as the narrative and visual content of the film emerge through interaction between participants and researchers [4] Through their journeys this project explores the notion of “plural authorship”, as the narrative and visual content of the film emerge through interaction between participants and researchers [4] (p. 246)

Theory and Objectives
The Film as a Material Artifact
The Art of Dialogue
A: Did you?
The Voice of Researchers and the Use of a Camera
Present Actors
Voice and Sound
Conclusions
Full Text
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